Fourteen-year-old Mattie Ross (Hailee Steinfeld) won't stand for her father's murderer getting away without anyone on his tail, so she hires grouchy U.S. marshal "Rooster" Cogburn (Jeff Bridges) to pursue the fugitive. The pair is joined by a Texas Ranger (Matt Damon) who's been tasked with bringing in the same man for killing a Texas senator.
The buzz: Few would have predicted that writer-director brothers Joel and Ethan Coen would follow 2009's brilliant, Judaism-centered study of faith, "A Serious Man," with a remake of a 1969 Western (based on Charles Portis' 1968 novel), which starred John Wayne as Rooster. That fearless unpredictability is sometimes what makes the filmmakers great, so they must have a good reason to put originality on hold for a little while.
The verdict: Itchy fellows, those Coens can be, and "True Grit" moves at a clip in its second act that doesn't let its journey or lively script achieve the original's tension or emotion. What remains is its determination and attitude, particularly as two handfuls of consecutive great scenes begin the slyly funny film. The story flirts with notions that certain acts may or may not be wrong (stealing from a thief) while suggesting others simply are wrong, with no opening for debate. Newcomer Steinfeld puts real juice into Mattie's defiance as she talks circles around men twice her size and three or four times her age. With Rooster, given gruffness if not stature by Bridges, this spunky young girl vows to do right by her family, a mission that's always relevant. There is no glory in justice, only a case closed.
Did you know? Rooster grumbles that he'd give $3 for pickled buffalo tongue right now. Um, that makes two of us?
Famous actor Johnny Marco (Stephen Dorff) lives in a world of permanent stubble and indifferent clothing choices, inane press questions and constant access to meaningless sex. His priorities may or may not shift when he's tasked with spending more time with his 11-year-old daughter Cleo (Elle Fanning, heartbreaking performance).
The buzz: Coppola explored the absence of feeling in "Lost in Translation," and "Somewhere" could be titled "Loss of Sensation." The emptiness of celebrity likewise isn't exactly a new topic, but as a comeback for Dorff, maybe "Somewhere" can emulate "The Wrestler" and its ability to find new depth in the familiar premise of a broken spirit's renewal.
The verdict: Perceptive in darkly comic ways, "Somewhere" is a mood piece, and that mood is "whatever." Or maybe "numb" is more appropriate. Dorff and Coppola achieve something special with Johnny: a sympathetic indictment of fame's randomness, acknowledging that this guy's not that special or particularly good at anything other than being good-looking. What the film lacks in freshness it gains back in authenticity, holding the inside track on a big star's wandering sense of self--especially when he expects sexual propositions from every beautiful woman but sometimes can't even stay awake long enough to get down to business. Superficial popularity is isolating in "Somewhere." It's also the deceptively accessible place where Hollywood turns back into reality.
Did you know? Johnny frequently receives angry texts with messages like "Why are you such an ass***" and "What's your f***ing problem?" How does one respond to such questions via text? What do you think of 'True Grit' and 'Somewhere'?
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