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Posts Tagged ‘Rosamund Pike’

Christian Bale

“HOSTILES” My rating: B- (Opens wide on Jan. 26)

133 minutes | MPAA rating: R

Westerns have always been a guilty pleasure (violent melodramas aimed at little boys and grown men who still think like little boys), but one cannot recall another Western that so openly oozes guilt as does “Hostiles.”

Written and directed by Scott Cooper (“Crazy Heart,” “Out of the Furnace,” “Black Mass”) and based on a 20-year-old manuscript by the late Donald E. Stewart (“Missing” and three of the Tom Clancy/Jack Ryan films), this revisionist oater unfolds in 1892 when the Indian wars are winding down and the frontier is giving way to civilization.

But not quite yet.

Capt. Joseph Blocker (Christian Bale) rounds up renegade Indians.  His methods are matter-or-fact brutal. He nurses a slow-burning racial hatred fueled by the ugly deaths of comrades over the years and the atrocities he’s witnessed.

So he’s furious when for his last mission before retirement he’s ordered to accompany Yellow Hawk (Wes Studi), a dying Cheyenne war chief, from a New Mexico prison to his tribe’s hunting grounds in Montana. No sooner does their little expedition get out of sight of the fort than Joe claps irons on the old man, less to prevent escape than to humiliate the cancer-riddled warrior.

Wes Studi

Joe is, of course, a direct descendant of Ethan Edwards, the Indian-hating antihero of John Ford’s great Western “The Searchers.” Both films are about a character on a moral and geographical journey.

The difference is that everyone in “Hostiles” is being eaten alive by hate or regret.

Joe’s second-in-command is Sergeant Metz (Rory Cochrane), who’s been diagnosed with “melancholia” but more accurately is being consumed by his conscience after decades of dogged persecution of Native Americans.  Then there’s Corporal Woodsen (Jonathan Majors), a black buffalo soldier who found acceptance in the white man’s world by hunting down another minority.

A young lieutenant (Jesse Plemons) straight out of West Point is about to get a crash course in frontier justice. And then there’s the military convict being taken to another outpost for hanging after butchering a local family. An old colleague of Joe’s, the prisoner (Ben Foster, naturally) wonders why he’s going to swing when he’s seen Joe do worse.

Finally there’s Rosalie (Rosamund Pike), traumatized almost to insanity after witnessing her husband and children slaughtered by renegade Comanches in the brutal episode that opens the movie.

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Rosamund Pike, Benn Affleck...in happier times

Rosamund Pike, Benn Affleck…in happier times

“GONE GIRL” My rating: A- (Opening wide on Oct. 3)

minutes | MPAA rating: R

The Affleck smirk — the way Ben Affleck, without even trying, looks like a high school halfback who has just initiated one of the new cheerleaders beneath the bleachers — is put to spectacular use in “Gone Girl.”

In David Fincher’s first-rate adaptation of Gillian Flynn’s dark suspense novel, Affleck plays a  handsome husband suspected of killing his beautiful wife, who has inexplicably gone missing. Here’s a poor jerk who — despite his best efforts to appear sympathetic in front of the cops, the cameras and the court of public opinion — can’t help coming off as insincere and smug.

Damn that Affleck smirk!

Or, rather, all hail the Affleck smirk, imbued as it is with ambivalence and leaving us uncertain about whether we should be cheering or booing the film’s protagonist.

That indecision could be problematical (moviegoers like being told what to think and feel), but “Gone Girl” nevertheless sucks us into the bitter (and bitterly funny) world fashioned by Fincher and Flynn (who adapted her own book for the screen — and in many respects actually improved upon the novel).

It’s a thoroughly satisfying mystery and suspense tale, sure, but “Gone Girl” also is one of the cinema’s most supremely cynical statements about the institution of marriage. It makes “The War of the Roses” seem warm and fuzzy.

And as if that wasn’t cake enough, we get for icing a hugely perceptive and bleakly comic depiction of the tabloid media, Internet opinion-making, and the astoundingly shallow fickleness of the American public.

There’s enough great stuff in here for three or four movies.  That Fincher (“The Social Network,” “Zodiac,” “Fight Club”) and Kansas City-reared Flynn keep it all in perfect balance is some sort of miracle.

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