In 'Cry Macho,' star-director Clint Eastwood plays with familiar cowboy tropes but delivers a surprising emotional payoff. K. Austin Collins' review:
All of that’s bubbling about in Eastwood’s new movie. And somehow, there’s room for yet more. Becausealso feels of a piece with any number of Eastwood’s films about the perils of notoriety, a subject he’s uniquely qualified as a director to explore. Everyone’s an “icon” nowadays — fine. But surely there’s some VIP lounge among even that sacred echelon for people who are sincere, indisputable visual and cultural icons.
Eastwood stars as Mike Milo: once a rodeo icon and skilled horse trainer, now a has-been being fired in the opening scene of his own movie. His boss, Howard , lays it out in a ramble of a monologue things you sense he’s wanted to say for some years. Mike’s a nobody now. There was an accident; there was, separately, a tragedy. Then came drinking, drug abuse — you know how these things go. He is now an inconvenience. Until he isn’t. A year after the firing, Howard needs a favor.
They happen at a surprisingly slack, easygoing pace, expanding beyond our central pair to encompass a world of danger and a bit of tender loving care from a kindly woman named Marta , whose generosity bespeaks something close to genuine virtue. There’s much more than can be said about the what and who and why of it all, but what’s satisfying and interesting aboutreally does boil down to these essences.
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