The Homesman When three women living on the edge of the American frontier are driven mad by harsh pioneer life, the task of saving them falls to the pious, independent-minded Mary Bee Cuddy (Hilary Swank). Transporting the women by covered wagon to Iowa, she soon realizes just how daunting the journey will be, and employs a low-life drifter, George Briggs (Tommy Lee Jones), to join her. The unlikely pair and the three women (Grace Gummer, Miranda Otto, Sonja Richter) head east, where a waiting minister and his wife (Meryl Streep) have offered to take the women in. But the group first must traverse the harsh Nebraska Territories marked by stark beauty, psychological peril and constant threat. (C) Roadside Entertainment.
Detail For The Homesman
122 min - Drama - 2014-11-14
Title : The Homesman
Writers: Roadside Attractions, etc
Stars: Tommy Lee Jones, Hilary Swank, Meryl Streep, Hailee Steinfeld, Grace Gummer
Director: Roadside Attractions
Rating : PG-13
Character : George Briggs, Mary Bee Cuddy,
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Review Movie The Homesman
Parts of The Homesman are a slog to sit through, but the movie ends on a note of absurd comedy that also breaks your heart, suggesting that some people, no matter the circumstances, are incapable of change.
If only things had started out on more solid ground and headed toward some sort of resolution. If only.
The film has more surprising turns than a honeycomb has bees. Absurdity and calamity collide without warning.
Swank , an Oscar winner for "Boys Don't Cry" and "Million Dollar Baby," is outstanding, getting to the essence of Mary Bee's pride and pain. And in the showier role, Jones impressively peels away layers of rambunctiousness to reveal George's humanity.
Swank and Streep are big stars with famous faces, and yet disappear into their roles; these characters convey both quiet strength and gentle kindness.
As the protagonists near their final destination, The Homesman offers a critique of civilization that's almost as pessimistic as its critique of frontier life, suggesting that in every corner of America there have always been more losers than winners.
It's as stubbornly and cantankerously eccentric as both its wagon drivers, not to mention driven to blaze its own trail through the narrative and mythological landscape of America's defining story form.
At a certain point, The Homesman will take you by surprise. By the end . it will take your heart.
The Homesman is a western hard and true, one that probably comes closer to depicting the hardships of frontier life than any number of more conventional oaters.
For a movie headlined by two Oscar-winning Hollywood stars - and direct ed and co-written by one of them - "The Homesman" is awfully close to outsider art.
Wanders along the lonesome trail, then heads off into the underbrush.
Some recent interviews with Jones paint him as a bit of a curmudgeon. But he's right to push back against being put into a box. "The Homesman" succeeds mainly because it and he don't neatly fit into one.
Few will regret having seen "The Homesman," and yet it's not exactly an enjoyable experience.
Right or wrong, "The Homesman" belongs to Jones and Swank, and for Western aficionados it's worth seeing.
A film that looks at first glance like a conventional Western but goes to unusual places.
While the film is bathed in a beautiful magic-hour glow courtesy of cinematographer Rodrigo Prieto, Jones' journey doesn't quite take off.
The melancholic balance isn't always quite right and the momentum wanes when it should be gaining.
I was impressed with how Jones's uncomfortable mixing of tones in the first half of the film gave way to something more elegiac and evocative by the end.
"Tommy Lee Jones' riveting Western is bleak and very nearly misanthropic, but it's also passionate, earthy, unpredictable, sensitive, and gloriously distinct."
The development probably works in Glendon Swarthout's novel of the same name, where Swank is nowhere in sight. But not in the theater. You're tempted to give up on the movie because it feels as if the movie has given up on her.
A wrenching, relentless and anti-heroic western that stands among the year's most powerful American films. Not everyone will like "The Homesman," but if you see it you won't soon forget it.
A strange, and beautiful movie, full of odd touches - a knife fight in the middle of a desolate wasteland, a gravestone made from a bed's headboard, a piece of embroidery that stands in for a much-missed keyboard - that haunt after the film's done.
"The Homesman" may sound like a title conferred on a man, and George Briggs may be driving the wagon. But it is Mary Bee's persistence and prayers that carry the women, and the film, flawed as it sometimes is, home.
"The Homesman" is both a captivating western and a meticulous, devastating feminist critique of the genre.
There's a thrilling undercurrent of rebellion in the way this straightforward, seemingly old-fashioned Western takes up the feminist cause.
The Homesman aims for a story that's poignant and told sparely, but comes across as mawkish, tedious and self-indulgent.
The Homesman joins a stark, stripped-down beauty to a languid pace and a spare soundtrack to create an ambience that reeks of lo neliness and alienation.
Everyone has a favorite Tommy Lee Jones performance. Until now I didn't have my least favorite, but "The Homesman" provides it, and is ruined by it.
This fem-centric Western from actor-director/co-writer Tommy Lee Jones walks the tightrope between comic and tragic. Jones and Hilary Swank ignite combustibly.
Integrity and personality can go a long way, especially in a movie as unquestionably flawed as The Homesman.
Ti tle and director notwithstanding, Tommy Lee Jones' "The Homesman'' is very much a feminist Western - one painting a vivid picture of how difficult it was for even a strong and determined woman to survive in frontier days.
A grand, shocking saga of a movie, The Homesman is the kind they don't make much anymore.
Glendon Swarthout's 1988 novel offered a rare approach to . Old West stories by shifting the focus to the women and children who often bore its brunt the worst, and Jones has - for the most part - successfully captured this .
An absorbing, melancholy look at th e hard lot of women in the Old West.
Certainly, there is a sturdiness to it, and a stubborn want of haste, that might have earned an approving growl from John Ford.
Jones continues to craft evocative, painterly images, and he takes real risks with tone, shifting from tragic to comic without the usual cues or transitions.
It doesn't help that Swank never finds a way into this highly unappealing character, or that Jones (mostly phoning in the pitiable surliness) avoids delving very deeply into the story's proto-feminist undercurrents.
Unlike other actor-directors, Jones never seems to indulge excess on the part of his cast. Though the characters are strong, the performances are understated.
If this is a revision to the revisionist westerns ushered in by "Unforgiven," I'll stay back East(wood.)
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