Director: Tommy Lee Jones Starring: Tommy Lee Jones, Hilary Swank, John Lithgow, Meryl Streep, James Spader Writers: Tommy Lee Jones, Kieran Fitzgerald, Wesley A. Oliver | 3.5/5 The Homesman What do you do with three women driven mad by the barren Nebraskan frontier, where the frozen ground has taken both their crops and their children? This is the driving question behind Tommy Lee Jones’ sophomore feature. The answer is to get the only sane, husbandless woman in town, Marry Bee Cuddy (Hilary Swank), to drive them by carriage east to Iowa. The story really does not start moving, though, until Cuddy rescues George Biggs (Jones) from the hangman’s noose. Biggs, a freewheelin’ squatter, is only worried about one thing: the $300 promised to him if he helps Cuddy safely transport the women. Begrudgingly, he accepts. The story is sparingly told, but it is not without its charms. For one, the cinematography is simply gorgeous. The wide-lens-and-even-wider-landscapes look of the film is reminiscent of John Ford’s pictures or Paul Thomas Anderson’s There Will Be Blood. Homesman is nowhere near that good, but it pulls off the look and feel convincingly enough. The stunning imagery strangely juxtaposes the pitch-black subject matter - which leans heavy on insanity and infanticide. One pristine example finds Biggs riding away from a hotel consumed in fire. As flaming people jump from windows, Biggs rides away under the prettiest starry sky you are likely to see. After that, I am sure most of you are thinking: infanticide? Yes, this movie boasts its R-rating not with heavy gore or language, but with extremely dark themes and images. For example, one scene depicts a nude woman poking herself repeatedly with a sewing needle. Kudos to Jones for not shying away from the darker elements of insanity, especially that of new mothers in desperate situations. |
This type of movie will not be for everyone. I find it quite understandable if you think pretty photography does not quite make up for such dark material.
For what its worth, The Homesman has its upsides, most of which come from the exceptional cast. Leading the charge is the duo of Swank and Jones. Jones, an always welcome site in any movie, dons his signature old-gruff-with-a-good-heart character. Though we have seen him do this persona before, it is nice to see it played on a character that is a little bit more of a scoundrel than the ones Jones usually plays.
Best in class is Swank, hands down. Always up for dirtying herself up and doing away with vanity, she jumps into this role with full force. In one scene, in a moment of desperation, she falls to the ground and eats grass with her horse. You will not ever see Cameron Diaz doing that, I promise. Cuddy might be described as “plain as an ole tin pale,” but she is tougher than any of the men onscreen. She spends the film searching for a husband, but anyone watching knows she does not need one.
Though the two leads make up for most of the film’s action and dialogue, there are numerous supporting roles that are worth noting. Jones is a seasoned vet who has undoubtedly made some famous friends over the years. He is smart enough to know that a well-placed Meryl Streep cameo is always welcome, as is a slimy turn for James Spader. John Lithgow, Tim Blake Nelson, William Fichtner, True Grit’s Hailee Steinfeld, and Breaking Bad’s Jesse Plemons all make notable contributions.
Though “acting crazy” may seem like an easy acting job, the three actresses cast here do exceptional jobs of pulling off the women’s insanity believably. Grace Gummer, Miranda Otto, and Sonja Richter all do their fair share of flailing and screaming, but its the certain subtle looks and gestures that really sell their characters’ afflictions as genuine.
Homesman does not have the thematic focus of Jones’ first film, The Three Burials of Melquiades Estrada. He gets his story told with ease, confidence, and efficiency, but it ends up not saying much of anything. I would like to say there is something to say here about the fierceness and of a determined woman and the barriers they so often face, but that may just be my imagination. I am not quite sure if this lack of purpose makes up for the numerous scenes of bleak depravity, but I believe its worth watching at least once, if only to secure your suspicions. Shortcomings aside, whenever Swank and Jones are onscreen together, there is something special there.
(Available on iTunes)
For what its worth, The Homesman has its upsides, most of which come from the exceptional cast. Leading the charge is the duo of Swank and Jones. Jones, an always welcome site in any movie, dons his signature old-gruff-with-a-good-heart character. Though we have seen him do this persona before, it is nice to see it played on a character that is a little bit more of a scoundrel than the ones Jones usually plays.
Best in class is Swank, hands down. Always up for dirtying herself up and doing away with vanity, she jumps into this role with full force. In one scene, in a moment of desperation, she falls to the ground and eats grass with her horse. You will not ever see Cameron Diaz doing that, I promise. Cuddy might be described as “plain as an ole tin pale,” but she is tougher than any of the men onscreen. She spends the film searching for a husband, but anyone watching knows she does not need one.
Though the two leads make up for most of the film’s action and dialogue, there are numerous supporting roles that are worth noting. Jones is a seasoned vet who has undoubtedly made some famous friends over the years. He is smart enough to know that a well-placed Meryl Streep cameo is always welcome, as is a slimy turn for James Spader. John Lithgow, Tim Blake Nelson, William Fichtner, True Grit’s Hailee Steinfeld, and Breaking Bad’s Jesse Plemons all make notable contributions.
Though “acting crazy” may seem like an easy acting job, the three actresses cast here do exceptional jobs of pulling off the women’s insanity believably. Grace Gummer, Miranda Otto, and Sonja Richter all do their fair share of flailing and screaming, but its the certain subtle looks and gestures that really sell their characters’ afflictions as genuine.
Homesman does not have the thematic focus of Jones’ first film, The Three Burials of Melquiades Estrada. He gets his story told with ease, confidence, and efficiency, but it ends up not saying much of anything. I would like to say there is something to say here about the fierceness and of a determined woman and the barriers they so often face, but that may just be my imagination. I am not quite sure if this lack of purpose makes up for the numerous scenes of bleak depravity, but I believe its worth watching at least once, if only to secure your suspicions. Shortcomings aside, whenever Swank and Jones are onscreen together, there is something special there.
(Available on iTunes)