The LEGO Movie 2: The Second Part
The Walking Dead
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All Critics (9)
| Top Critics (4)
| Fresh (8)
| Rotten (1)
| DVD (1)
Saddled with a pretentious and senseless screenplay about Billy the Kid, this lame oater drags all parties down with it.
Penn's training in theater and live-TV drama (e.g. Playhouse 90) shows; the central performance is rehearsed into an anxious stir, every line matched to an actorly decision, a blocking cue.
The picture is a smart and exciting western paced by Paul Newman's intense portrayal.
Penn's first film, it is in many ways a key stage in the development of the Western.
To the part of Billy the Kid, he brings an air of moronic sensitivity that is very telling, very delinquent and disturbingly typical.
Boasting a strong turn by Paul Newman as Billy the Kid, this disturbingly psychological, technically innovative deconstructive Western marks the impressive debut of Arthur Penn (Bonnie and Clyde), signaling the beginning of the New American Cinema.
A close, inspired study of Ford and Nicholas Ray, and a decisive source of inspiration to Peckinpah, Malick, and Penn himself, who looked at it again and saw Bonnie and Clyde.
A good but disturbing psychological western, well directed by Penn and acted in a strangely fascinating style by Newman.
The character has rarely been portrayed as well as he is by Newman.
Billy the Kid seeks revenge for the killing of a cattle rancher who showed him kindness.
I've never found the Western genre that compelling. Sure, there are some Westerns that use the lawlessness of the place/era as a way to debate the formation of laws in some kind of modern Locke vs. Rousseau discussion, and there are others that are characters studies of a different sort. But overall, macho violence and loud action scenes usually dominate the genre, and I fail to connect to any of the characters.
Aside from Paul Newman's performance, The Left Handed Gun is everything I don't like about Westerns. It's predictable, and Billy the Kid holds no great aura for me - he's a snide, hot-headed, illiterate fuck-up, and though he comes to realize this by the end, I have trouble understanding why he holds so much pull for people in general and filmmakers specifically. Within the context of the film, I don't see any motivation for a woman to sleep with him (in the lamest seduction sequence ever - "With you. With you. With you.") or for Garrett to take him under his wing.
Overall, the film gets strong reviews from friends and reviewers alike, but there must be something I'm missing about this genre.
Any fan of the Young Guns movies that our generation grew up with should check this out. Obviously the production value was not as good and Hollywood license runs rampant with Gore Vidal's classic non-fiction. This movie was erroniously titled at a time when most historians mistakenly assumed that Billy the Kid was left handed based on a reversed image.
While this is one of the many inferior Billy the Kid stories, it still has Paul Newman as a bizarre and crazy version of the character. The movie mainly fails on the lack of scope and story, which is completely mind boggling to me. When it's a character like Billy the Kid, you have no excuse to tell a weak story. I'm assuming this also had a lower budget, so some things are excused. However, it should really only be seen for Paul Newman; nothing else
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