IR Film Review: CRY MACHO [Warner Brothers]

The approach of a Clint Eastwood sometimes can be mired in gruff but depends, for him, it seems, on efficiency of storytelling. According to many that have worked with him (some of who this reviewer has spoken too), Eastwood keeps his films budget conscious and never does more than 1 or 2 takes. It is probably a throwback to his studio system days. Sometimes that serves his films well. Others at times could lose a little more panache. "Cry Macho" works more with the former but this one has a little more reflection. Here Eastwood's Mike who had his years of faults is given an offer he can't refuse from the person who saved him and let him live his life in Polk (Dwight Yoakam). Mike goes about his day but agrees to go get Polk's son who is down in Mexico with his mother. The details are scarce and the reasonings flimsy at best but the mother seems to be a woman of some power but also of promiscuity (which is her right) but in this case,, nether parent seems right.. But it is not up to Mike to make that decision. He simply needs to get the job done. This is where the Eastwood factor comes in.

Because of its cowboy mentality, there is a bit of "Unforgiven" and the Man With No Name of course but also interestingly enough "The Bridges Of Madison County". No one would think of Eastwood as a romantic lead at 91 but he pulls it off in a no-nonsense way and surprises yet again. It is this understated and old school approach with Marta (Natalie Traven) where the story and the circumstance make absolute sense and give the film an undeniable lyricism in a basic sense. The surrounding story provides the moral structure for sure but everything doesn't need to be wrapped up in a neat bow. People make decisions for all sorts of reasons. For some reason, when Eastwood acts and direct, he gets to the core. When he just directs, the knowledge is there but perhaps not the direct connection. The music is mostly by Mark Mancina (which many people know from "Speed", "Bad Boys" or "Twister" and, while not Eastwood, knows that the film doesn't need a whole ton of music. It speaks for itself.

Eduardo Minett (who plays the son in question: Rafa) tries his best (especially with the humor) but it is tricky because Eastwood is so seasoned and Minett seems to be more at a school play level (no offense). It is also a specific decision (and a great one in fact ) that Eastwood does do is not subtitle the Spanish in the film. We hear the interpretation mostly through Rafa so the interactions with Marta seem very natural and organic. These are specific and essential choices made. One scene in particular in a chapel with Eastwood telling Rafa the story of his life with the hat covering his face is so underplayed but the way Eastwood delvers it with detail and a little more is the best he has been in years. "Cry Macho" is an Eastwood picture through and through but that little something extra described above sets it apart and shows why Eastwood is still up there with the best of them. B+

By Tim Wassberg