Review by C.J. Bunce
It’s not that often actors that make it to the level of movie stardom get to have that curtain call. Robert Redford announced after the filming of The Old Man & the Gun that this would be his last film in front of the camera. A tribute to Redford and a wind-up of a great and unusual career of smartly made choices by the actor, it’s an enjoyable film and final take on the persona Redford played so well in Butch Cassidy and the Sundance Kid, The Sting, and Sneakers. Earlier this year Netflix released a new film called The Highwaymen, a story written by John Fusco about the Texas Rangers that finally took down Bonnie and Clyde. Years ago Redford was taking the script to Paul Newman intending it to round out their two crime films together (Butch & Sundance and The Sting), but Newman passed away. That story would have been a great final film for both, but somehow The Old Man & the Gun is truer to the legacy of Redford as that hard-to-resist bad guy. Redford hangs up the acting part of his life just the way we like him, as the good bad guy.
Writer/director David Lowery could have made The Old Man & the Gun something over the top, something like Space Cowboys, but we know Redford wouldn’t have signed up for something like that. This is more subtle, sweet, and sentimental, doing something similar for Redford to what Clint Eastwood has been doing with his elder years roles like Gran Torino and The Mule. The Old Man & the Gun is in the same genre as the Eastwood and Kevin Costner film A Perfect World, another take on Tom Hanks and Leonardo DiCaprio’s Catch Me if You Can, and without the intensity of Jeff Bridges and Chris Pine’s Hell or High Water, introducing us to another criminal and his pursuer, this one 82-year-old Redford playing the 62-year-old real-life, early 1980s bank robber Forrest Tucker. Redford looks more 82 than 62, but it doesn’t matter, older is better here, and the casting director who teamed him with Sissy Spacek as love interest deserves some kudos. Redford’s thief is a likable enough guy who leads a small-scale Butch Cassidy & the Sundance Kid gang consisting of a quirky Danny Glover and Tom Waits. Ultimately the film is worthy of all these actors, enough reason alone to check it out.
Rounding out a quartet of Academy Award-winners with Redford and Spacek and a blink-and-you’ll miss him Keith Carradine, is Casey Affleck, playing the young, local police pursuer a bit differently than the typical cop trying to get his guy that we’ve seen in countless police stories. Through interviews we watch him learn that every person who has been robbed by Tucker sees Tucker as a nice, sympathetic, grandfatherly old gentleman. Taking cues from his kids and wife played by Tika Sumpter, Affleck’s cop takes a step back, and his performance is subtly played. And quite good.
, we won’t be seeing any “new” John Wayne movies anytime soon. So now we return to Clint Eastwood, in light of his September 2012 release, Trouble with the Curve.
, by Jai Nitz, Ande Parks, and Phil Hester, that was just awesome (to be reviewed here later on). Intrigued by the idea of a current western comic in the midst of the Justice League superheroes, I read it first from the stack.
feel here for sure. A good thing, as I wished that book had turned into its own series.
. A further creepy scene may also make you think he’s a bit of Anthony Perkins as Norman Bates in Alfred Hitchcock’s Psycho.
. There’s also a bit of the outcast element of Danny Glover’s Mal in 
. There’s a medical aspect of the 19th century as well, the sleuthing of an early Detective Comics of sorts, but again, familiar because of the similar treatment in 
, but there is also a little of Elliott’s Ghost Rider’s Caretaker mixed with 
Lee Scoresby. To get me to conjure any incarnation of Sam Elliott in your character is a win in my book. But then again there’s a spin on Eastwood’s Stranger from 
, as you can see the whole town of Gotham closing in on Dr. Arkham and Hex after only the 24th page. Who would have thought Jonah Hex could be so cool?
