No film star or for that matter actor or director has done it better for extended than Clint Eastwood. At 91, he’s still acting and directing, and his latest film, “Cry Macho,” opens this weekend in theaters and is additionally streaming on HBO Max. Despite his age, Eastwood’s star still shines as a director and actor. There is a particular charm to the film for the Eastwood fan, but the movie plows little new ground, and on behalf of me a minimum of, it falls on the lower end of the spectrum of the actor/director’s considerable output.
The story is predicated on a completely unique by N. Richard Nash, published in 1975 after the author attempted to sell it as a movie script. The story has knocked around Hollywood ever since. Arnold Schwarzenegger was set to star in an adaptation in 2011, but production was canceled in need of making the film. Eastwood had screenwriter Nick Schenk revamp Nash’s original screenplay, and therefore the movie which will remind a number of an “afternoon-special” attempt at a tough-guy movie was shot in New Mexico last year despite the challenge of Covid-19.
The story is straightforward. Eastwood’s character, a former rodeo roustabout and horse trainer Mike Milo, owes a debt to big-shot Texas rancher Howard (Dwight Yoakam) for bailing him out of adversity during a coffee point a few years ago. Howard hires Milo to retrieve his 13-year-old son Rafo (Eduardo Minett) and therefore the boy’s prize-fighting rooster, Macho, from the boy’s “abusive” mother in Mexico. Milo is an ornery cuss in classic Eastwood style, but an honorable one who does like kids and animals. He accepts the mission and seeks to retrieve Rafo and Macho.
The movie will remind a number of John Wayne’s last film, “The Shootist” about an ailing gunfighter that co-starred a young Ron Howard as a teenager whom Wayne’s character took under his wing. Eastwood’s Milo relates to young Rafo in a similar fashion. “This macho thing is overrated,” Milo relates to the boy toward the climax of the movie. “You think you’ve got all the answers, on the other hand, you grow old and realize you don’t have any. By the time you work it out, it’s too late.” Eastwood’s Milo may be a mellower more introspective, and maybe wiser version of Eastwood’s laconic plug-ugly stereotype. Sure, Eastwood’s character throws a couple of punches, romances a woman, and is on the run in his plan to rescue Rafo and therefore the fighting chicken, but he does take an easier pace.
For the foremost part, the movie’s twists and turns are often anticipated, but the journey is usually quick and enjoyable if you’re an Eastwood fan. Natalia Traven is solid because the widow Milo lightly romances while Rafo takes a shine to at least one of her granddaughters during their stay at the ranch. While the movie doesn’t really fall under the action-drama genre Eastwood is best known, that’s O.K. He’s made dozens of these films that we will rewatch whenever we would like. This movie is somewhat different, maybe a touch bit closer in line together with his 1978 comedy “Any Which Way But Loose.” Though some Eastwood fans might feel a touch disappointed by “Cry Macho,” I enjoyed the film’s slightly different flavor for what it’s instead of what it’s not.