Tag Archives: David Michôd

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Fight Like a Girl

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Christy

by George Wolf

No matter what you think of Sydney Sweeney the celebrity glamour girl, you’ve got to give her props for not resting on her sexy laurels. I’m not saying her turn in the bikini-friendly Anyone But You didn’t show fine comic timing, but in five of her last seven films, Sweeney has chosen roles that downplayed her curves and provided the chance to challenge herself as an actress.

Okay, so Echo Valley, Eden, American, Immaculate and Reality didn’t make the box office buzz, but Christy continues Sweeney’s ambitious trend. And right on the cusp of awards season, she doesn’t waste the opportunity to impress, leading a stellar ensemble in giving some well-deserved flowers to a trailblazer in women’s sports.

In 1989, Christy Salters was a bored girl from West Virginian who played a very physical brand of basketball and bristled when her mother (Merritt Weaver) obsessed over the whispers about Christy’s relationship with girlfriend Rosie (Jess Gabor). After winning $300 in a local Toughman contest, Christy is introduced to boxing trainer/future husband Jim Martin (Ben Foster), who guides her, exploits her and violently abuses her on Christy’s path toward becoming Don King’s “Coal Miner’s Daughter,” the first woman to headline a PPV undercard.

Boxing films may carry the most inherent cliches of all sports stories and director/co-writer David Michôd can only steer Christy around them about half the time. As Christy’s fame and fortune grew, the level of abuse she suffered only intensified, to a level that will surprise many. And when Michôd (Animal Kingdom, The Rover) finds small moments to accentuate with a dramatic camera angle or well-timed edit, the performances from Sweeney and Martin find resonant depth.

We’re used to exemplary work from Foster, and here he makes Jim Martin a slippery, violent gas-lighter with just enough relatable edges to avoid caricature. Sweeney responds with committed grit, and Christy’s battles both in and out of the ring elicit sympathy, respect and admiration.

Even so, the biggest challenge to telling a story so personal is the temptation of throwing too many formulaic haymakers. When Christy can do that, it becomes a film worthy of Martin’s fight.

Winner by split decision.

For Your Queue

Gritty Aussie Imports For Your Queue

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Aussie filmmaker David Michod proves his mettle with his second effort, The Rover, releasing today for home viewing. A spare, brutal, deliberately paced dystopian adventure, the film marks another in a string of fine performances from Guy Pearce, and more interestingly, a worthwhile turn from Robert Pattinson. Michod knows how to get under your skin, how to make the desolate landscape work, and apparently, how to draw strong performances.

An excellent pairing would be Michod’s phenomenal first effort, Animal Kingdom. This 2010 export follows a newly orphaned teen welcomed into his estranged grandmother’s criminal family. Unsettlingly naturalistic, boasting exceptional performances all around – including the Oscar nominated Jacki Weaver – and impeccably written, it’s a gem worth seeking.

 





New In Theaters

Not Max, But Plenty Mad

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The Rover

by George Wolf

 

Make it 2 for 2 for Australia’s David Michod, and I’m not talking World Cup penalty kicks.

Four years ago, Michod served up Animal Kingdom, an utterly compelling feature-length debut as writer and director.

The Rover is his follow up, and much like its predecessor, it takes a measured approach to getting under your skin.

The setting is an Australian wasteland, ten years after a “collapse.” We assume it’s a financial one, as we see Eric (Guy Pearce) angrily tell a man selling gasoline that “it’s just paper..money doesn’t mean anything anymore!”

When three men, fleeing from some sort of bloody incident, wreck their car, they steal Eric’s, which will not do. Though he quickly gets their stalled car running again, Eric’s not interested in a straight-up trade. He wants his car back. Badly.

One of the fleeing men, Henry, has left something behind:  his “dim-witted” brother Rey (Robert Pattinson). When Rey crosses paths with Eric, one brother is soon forced to hunt the other across the barren, desolate miles.

Don’t let the quick cuts in the trailer fool you, the story often feels as empty as the strikingly- filmed landscape. But Michod’s deliberate pace slowly sets in your bones, fueled by the two lead performances.

Pearce is mesmerizing, sketching the intense edges of a mysterious traveler. Where was he going in the first place, and why is he so deadly accurate with that rifle? What’s so important about his car?

Pattinson slams the door on all those “Team Edward” jokes with a breakout performance. Reaching depths of nuance he’s never before displayed, Pattinson brings heartbreak to Rey’s conflicting allegiances without ever copping out to melodrama.

Michod also peppers the trip with indelible vignettes, as smaller, unique characters float in and out of the tale to fully portray a brutal, desperate world that feels shockingly possible.

In many ways, The Rover is a throwback to classic Westerns, with a nearly anonymous figure on a bloody, single- minded mission for revenge. You may scoff at the simplicity of the finale, but I’m betting you’ll find yourself thinking about it long afterward.

 

Verdict-3-5-Stars