Matthew McConaughey

  • The Gentlemen (2019)

    The Gentlemen (2019)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, December 2020) Every few years, writer-director Guy Richie uses the box-office clout of his for-hire projects in order to go back to his criminal comedy roots. The Gentlemen is the latest entry in his stronger filmography subset, and it feels like the best thing he’s done since Rocknrolla. As with Richie at his finest, the film is a dizzying blend of criminal capers, strong characters, delicious dialogue and fast-paced editing, making good use of a non-chronological, unreliably narrated story. The fun begins as a journalist (Hugh Grant in one of his strongest and slimiest characters) breaks into the house of a criminal fixer (Charlie Hunnam, surprisingly good) to tell him about the troubles for his employer, an American expat (Matthew McConaughey) looking to diversify his cannabis empire now that decriminalization is coming fast. The multi-stranded, exuberant plot is simultaneously integral to the experience of the film and somewhat of a second thought as it showcases other things. Richie fans will be happy to see him deliver on male fashion exemplars and a great working-level look at London. But the centrepiece here is the dialogue: inventive, profane and elaborate – it comes out of the characters like soliloquies, as they delight in the power of words. (Significantly enough, the most reprehensive characters are also the least florid.) Its willingness to go hard for provocative content does mean that The Gentlemen is all too willing to go for racist and sexist content – but it feels like a price to pay for a film with dialogue this good and a suitably convoluted story. By the end, The Gentlemen even indulges in metafictional irony and side-glances at the unrealized sequels to previous Richie movies. It’s mesmerizing viewing, bolstered by uniformly great performances from actors drawn out of their personas by Richie’s script. (Just wait until you see Colin Farrell’s character – he’s been terrific as a character actor for the past decade, but he gets a really good supporting turn here.) The Gentlemen, needless to say, will not be for everyone: it’s violent, crass, a bit self-satisfied and definitely aimed at a specific audience. But it’s great to have Richie go slumming again in criminal London after working for Disney.

  • The Return of the Texas Chainsaw Massacre aka Texas Chainsaw Massacre: The Next Generation (1995)

    The Return of the Texas Chainsaw Massacre aka Texas Chainsaw Massacre: The Next Generation (1995)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, September 2020) Nearly every actor has a few regrets in the hungry days of their filmography, and some movies benefit from being those regrets—raising their profile far above what they would have been without those subsequently big-name actors. The Return of the Texas Chainsaw Massacre had no less than two of them, enough so that it would, within two years, be re-edited, retitled and re-released as Texas Chainsaw Massacre: The Next Generation to capitalize on the sudden stardom of Matthew McConaughey and Renee Zellweger. Nothing but regional luck explains this dual pairing: The film was a low-production affair that scoured the Austin acting scene to find its actors, and both were newcomers looking for any kind of work. Zellweger does look cute in glasses as a young woman preyed upon by a family of killers on Texas backwoods roads. McConaughey plays against type as a younger member of that family that also includes include a deceptively normal-looking realtor as bait (the attractive Tonie Perensky). What could have been just a forgettable and generic plot soon turns bizarre (and worse) when the usual teenager-versus-hillbilly-psychos dynamic somehow comes to include links to a secret society (???) involved in the JFK assassination (!!!) as represented by a snappily dressed man in a limousine (?!!) who just drops by the house to have a look around (??!) Even the legacy of the Texas Chainsaw series (and I use the expression lightly, not being a fan of it) is severely undermined by Leatherface being an incredibly inept opponent reduced to being in drag and screaming helplessly. Thankfully, this family eats pizza rather than humans, but that’s just one more thing that comes to confound those expecting a continuation to the series. I, personally, don’t care about the Texas Chainsaw premise at all, so I’m enjoying a reaction to the film similar to that of Halloween III—the more they desecrate the series’ mythos, the more I’m enjoying the put-down. Still, subverting expectations isn’t a virtue by itself, and much of Texas Chainsaw Massacre: The Next Generation is just tedious. Occasionally interesting for watching McConaughey and baby-faced Zellweger in such schlock, intermittently intriguing for undermining the entire series, but otherwise not really worth the effort.

  • The Paperboy (2012)

    The Paperboy (2012)

    ByChristian Sauvé Movie Review

    (On TV, February 2020) There’s something disappointing about films that could have been solid hits being transformed into pricklier creations due to a lack of discipline. There’s nothing fundamentally wrong with the bones of The Paperboy, for instance—In 1969, two journalists travel from the city to a small town in Florida to investigate a murder and possible miscarriage of justice. Add to that the atmosphere of backwoods Florida, the threat of locals banding against the meddling outsiders, the eccentric characters met along the way and you’ve got the makings of a small but interesting crime drama. Part of the trick, however, is staying focused and being clever about just how eccentric the characters are going to be. And while The Paperboy is not quite a disaster, much of what’s wrong about it can be summed up with this: If you’ve ever wanted to see Nicole Kidman urinate on Zac Efron, then this is the film for you. In the hands of writer-director Lee Daniels (then fresh off a major socially conscious hit with Precious, which raised expectations for The Paperboy to unreachable levels), the film oscillates between a sordid murder mystery in a sweltering Florida town (where it’s at its best) and a series of trashier, more impressionistic moments. The surprisingly downbeat ending is disappointing, and there’s a sense that the film mishandles actors who probably wanted to work with Daniels more than they cared about the script. Kidman is stuck in an unglamorous, ungrateful role, for instance, and Matthew McConaughey (in retrospect) had a bit of a bump in the road here during his McConnaissance, even if it was squarely in his then-intention of trying new things. Sure, The Paperboy can be watched without too much trouble—that is, if you’re willing to forgive some weirder plot turns and scenes.

  • Failure to Launch (2006)

    Failure to Launch (2006)

    ByChristian Sauvé Movie Review

    (On Cable TV, October 2018) I you want to hear me at my cantankerous best, just get me started on the hyperbolization of language and (in parallel) the tendency of ironic catchphrases to get normalized to clichés. Never mind my person crusade to teach everyone the deadly origins of the expression “drinking the Kool-Aid”: one of my current bugaboos is how perfectly good middle-ground descriptive words have been perverted into value judgments. “Mediocre” means “ordinary,” but most people now take it to mean “bad.” “Exemplary” means that something is a perfect example of something, and not necessarily among the best. So when I say that Failure to Launch is an exemplary mid-2000s romantic comedy featuring Matthew McConaughey (not as small a sample size as you’d think), then I’m just saying that it’s representative, not a superior example of the form. The plot is the kind of high-concept contrived nonsense that was a staple at the time, this time about a relationship specialist (Sarah Jessica Parker) who can be hired to boost the self-esteem of young men staying at their parent’s house long after they’ve overstayed their welcome. It’s not prostitution, insists Failure to Launch in the rare moments when it actually cares about the implications of its premise, except that parents do hire her to send their boys away from home. The plot built upon that premise is executed by-the-numbers, but as with many examples of the genre the charm of the film lies in the execution, the subplots and the supporting characters. The charm of the leads is considerable (there’s a reason why McConaughey found a niche in romantic comedies for so long—he nearly overpowers the material), and there is a lot of fun to find in the more interesting romantic B-story featuring Zooey Deschanel and the film’s obsession about animal bites. Bradley Cooper and a pre-hair implant Steve Carell show up in minor roles. There’s a funny subplot about a mockingbird. Despite its familiarity, Failure to Launch is not a difficult film to watch: it’s not exceptional, but it’s well-made enough to be entertaining.

  • The Dark Tower (2017)

    The Dark Tower (2017)

    ByChristian Sauvé Movie Review

    (On Cable TV, April 2018) I’m not that familiar with Stephen King’s series (even though I’ve got most of it on my shelves, waiting for a sustained reading marathon) but you don’t need to be a fan to be disappointed by the low energy of this big screen The Dark Tower. Some of the film is worth defending: Idris Elba has never been less than interesting even in misfires such as this one. Matthew McConaughey can play evil very well. Some of the initial world building of the film is intriguing. There’s a great action sequence at the end. But beyond those things, The Dark Tower feels like a blend of several very familiar urban fantasy tropes remixed without much wit nor conviction. It does a poor job hinting at the grandeur of King’s series, and far too often goes back to familiarity when we’re here for the new and unexpected. I often complain about the Hollywood process that uniformizes whatever quirky source of inspiration comes its way, and that’s seldom as apparent as in here. Whatever may have been worthwhile in King’s source material is compressed in an extremely familiar three-act structure and plot moments that feel stolen from the past five years of YA urban fantasy. What’s left cannot be satisfying to audiences unfamiliar with King’s work nor his fans. The Dark Tower feels like a mess, and watches like one. Looking at the poor critical and commercial returns for the film, it’s fair to say that there will never be a sequel in that continuity and I’m not devastated by that idea.

  • Gold (2016)

    Gold (2016)

    ByChristian Sauvé Movie Review

    (Video on-Demand, May 2017) The good news are that while Gold is based on a true story, it’s certainly not beholden to it, and so the Canadian Bre-X scandal becomes an American one and the hero is allowed to walk away with what amounts to a happy ending of sorts. The film is at its best when it offers a look behind the scenes of a mining company, from exploring prospective mining sites to meeting investors on Wall Street. Matthew McConaughey de-glams himself in the lead role, taking on a balding haircut, unflattering teeth and an overweight physique to give us a character unlike any in his filmography. It’s not a great performance on the order of what he’s been regularly presenting in the past half-decade, but it’s decent enough and he surrounds himself with capable character actors such as Édgar Ramírez, Bryce Dallas Howard and Corey Stoll. The film itself is rather duller than you’d expect from the high-flying subject matter—writer/director Stephen Gaghan has done much better in the past, and Gold can’t quite get out of a safe comfort zone. On the other hand, it’s a relatively entertaining watch, and it ends with a somewhat happier note than you’d expect. Gold may not be much more than a standard evening’s entertainment, but the inner look at mining operations can be enough to tip the scale for some viewers.

  • The Wedding Planner (2001)

    The Wedding Planner (2001)

    ByChristian Sauvé Movie Review

    (On Cable TV, March 2017) It’s sad when capable actors are stuck with dull material, and The Wedding Planner is a case study in how that happens. Here, the always-appealing Jennifer Lopez and Matthew McConaughey (in the early rom-com phase of his career) do their best with a script that combines dumb situations with uninspiring dialogue. Their natural charm (plus good contributions from the always-interesting Judy Greer and Justin Chambers) is just about the only thing that keep the film together as it moves through the usual story beats of the romantic comedy formula. The first half-hour is quite a bit better (as in; interesting, less predictable, quirkier, looser, hotter) than anything that follows—it eventually becomes a romantic comedy so cynical that it practically forgets about the romance, so preoccupied it is with ritually moving its plot pieces through the expected episodes leading to the climax. The Wedding Planner is not much of a comedy and it’s not much of a romance either—at best, it does the strict minimum, lets its stars carry the film and calls it a day. Too bad.

  • Free State of Jones (2016)

    Free State of Jones (2016)

    ByChristian Sauvé Movie Review

    (Video on Demand, November 2016) As much as it’s not advisable to trust Hollywood for anything approximating a history lesson, Free State of Jones offers a quick dramatic primer on the incredible story of Jones County, a small area of the Confederate South that managed to rebel against the southern government and remain independent throughout much of the American Civil War. Matthew McConaughey stars in another substantial role as Newton Knight, a Confederate soldier who defiantly returns home with his dead cousin and rebels against the local authorities, drawing more and more support along the way. This takes us through the Civil War, well into reconstruction and the difficulties encountered after the moment most war movies end. It ends up being an uplifting story about inclusiveness, rebellion against injustice and the power that small communities can have in shaping their destinies. Gugu Mbatha-Raw and Keri Russell have good supporting roles as wives who reach a curious understanding. Free State of Jones is not quite as successful as it could be: it feels long at more than two hours and a quarter, resorts to title cards to explain what it can’t dramatize, isn’t always able to make the most out of its scenes, loses its way in flashforwards and occasionally feels like it’s repeating the same thing. Still, it’s an interesting historical thriller, and it has a few weighty themes on its mind. It could have been better, but it easily could have been worse.

  • A Time to Kill (1996)

    A Time to Kill (1996)

    ByChristian Sauvé Movie Review

    (On TV, July 2016) There was a time, before the McConnaissance, before the Decade of Rom-Coms, when Matthew McConaughey was hailed as a promising young actor, and A Time to Kill (alongside Contact, Amistad and Lone Star) was part of the evidence. Watching it today is like unearthing vintage McConaughey, made even better by the calibre of the cast surrounding him. Samuel L. Jackson in a genuinely unsettling angry father role? Kevin Spacey as a slimy prosecutor? Sandra Bullock as the brilliant girl who comes to save the day? Ashley Judd, Kiefer Sutherland, Donald Sutherland, Oliver Platt, Chris Cooper as part of the scenery? Not bad at all. While director Joel Schumacher lets the film run long, he knows what he’s doing in giving it a sweaty high-polish gloss. (Do I need to highlight once more the disappearance of the big-budget standalone thriller in today’s Hollywood industry?) The story is adapted reasonably faithfully from the John Grisham novel, including the uncomfortable considerations of vigilantism. In fact, the movie may be a bit more upsetting in the way it squarely places its sympathies with the justice-seeker and conflating it with a victory for the oppressed (as in; racists are bad, so they get what they deserve and never mind the judicial process.) There’s unpleasant stuff going just under the glossy surface of the story, and it’s not clear whether this is entirely intentional from either Grisham or the screenwriter. Still, A Time to Kill can coast a long time on the charm and persona of its stars. In the end, it’s a film best seen for its cast and execution than for moral questions left untouched.

  • Ghosts of Girlfriends Past (2009)

    Ghosts of Girlfriends Past (2009)

    ByChristian Sauvé Movie Review

    (On TV, July 2015)  For all the flack that 2000-2010 Matthew McConaughey has received for his lengthy string of undemanding roles in romantic comedies, it’s easy enough to forget that he was really, really good at it.  Ghosts of Girlfriends Past is as good a showcase for him in that mode as any of the other films in that sub-genre.  Here, A Christmas Carol crashes into rom-com conventions as McConaughey plays an unrepentant womanizer taught the error of his ways via three helpful ghosts on the eve of a wedding.  As with many films trying to mix familiar genre premises with high-concept premises, Ghosts of Girlfriends Past works best as its wildest (the scene where the protagonist meets his past girlfriends “in bulk” is the highlight), and worst when it’s saddled with obligatory emotional beats, or realise it actually has to deliver a romantic payoff beyond the jokes.  So it is that the film is an inventive delight when McConaughey acts as a bad-boy or when the ghosts take him through a tour of his romantic life.  It’s not so enjoyable when it has to go through the motions of the typical foreordained romance, or the dramatic scaffolding required to get to the triumphant ending.  But the film does make an impression: Emma Stone is nothing short of hilarious in a pre-stardom role, while Michael Douglas is slick-smooth as the kind of mentor every mother warns her son about.  Noureen DeWulf, Anne Archer, Lacey Chabert and Robert Forster also make good impressions in smaller roles.  Still, the script is a bit hit-and-miss as its better moments are saddled with more obvious ones.  In other words, Ghosts of Girlfriends Past should have been a bit better with the elements at its disposal, and occasional signs that it’s capable of much better.  But even as it is, it’s an impressive showcase for the kind of persona that Matthew McConaughey enjoyed in his rom-com heyday.

  • Interstellar (2014)

    Interstellar (2014)

    ByChristian Sauvé Movie Review

    (Video on Demand, April 2015) Some movies are more difficult to approach in a capsule review than others, and while Interstellar is certainly one of them, the fact that I saw it with a raging fever doesn’t help matters at all.  My expectations about it were running high: Christopher Nolan is an ambitious director, and daring to present an original hard-SF space exploration spectacle at a time where superhero franchises are the rage would be ironic even if The Dark Knight Returns hasn’t directly financed Interstellar.  The film certainly delivers on its promises: With a two-and-a-half hours running time, it tackles new frontiers of science (thanks to physicist Kip Thorne’s collaboration), time-travel (in a way), an extinction-level crisis, weighty family matters and humanity’s future in one big wide-screen package.  Matthew McConaughey stars as an intrepid engineer bucking against a subsistence-mode Earth, selected to lead a mission that may offer a way out of a decaying environment.  The rest of the film is an interlocking puzzle of big ideas brought home through very personal stories, exploiting the dramatic possibilities of physics in a way often realized in prose Science Fiction but rarely attempted on-screen.  The result is like a good solid hard-SF novella brought to life, with careful direction and mind-expanding sequences.  I liked it a lot, but surprisingly enough didn’t quite love it like I loved Inception.  The length of the film is an issue, and so are some of the shakier elements of the world-building in which the story takes place.  I couldn’t sufficiently suspend my disbelief when it came to Earth-side matters, although some of the dreary details were all-too-vivid.  Still, I enjoyed toying with the film’s ideas and theme, and think that this is a major Science Fiction film in the way it successfully manages to feel like a mid-seventies hard-SF novel, combining a decent amount of science with a decent amount of fiction.  I’m half-tempted to blame my fever for not being bowled over by the result, but it may also be that Interstellar is designed to be admired more than to be loved… which, in itself, is a very hard-SF intention.

  • Bernie (2011)

    Bernie (2011)

    ByChristian Sauvé Movie Review

    (On Cable TV, August 2014) Truth is often stranger than fiction, so it’s no surprise to see Bernie work extra-hard at blurring the line between the two in telling us an unusual story of crime and punishment in small-town East Texas.  Blending interviews with real people with fictional re-creation of the events, Bernie is the story of a likable man who ends up shooting a disliked widow.  The public reaction in the community is such that in planning the trial, the District Attorney ends up requesting another venue in order to ensure that his client won’t be pre-emptively acquitted by the jury.  Of course, the fun of the story is in the details, and the way writer/director Richard Linklater ends up presenting this true story through a blend of testimonials and scripted scenes.  Jack Black has a good role as the titular Bernie, earning himself a spot outside the annoyance zone in which his last few roles have landed.  Bernie also features two smaller but showy roles for Shirley McClaine (as the hated widow) and Matthew McConaughey (as the ambitious District Attorney, and another link in the rebirth of his career)  While Bernie isn’t a laugh-a-minute comedy, it’s an often-affectionate look at a small Texan community and the weirdness of true life crime.

  • The Wolf of Wall Street (2013)

    The Wolf of Wall Street (2013)

    ByChristian Sauvé Movie Review

    (Video on Demand, March 2014) Presenting the grandiose life story of a criminal isn’t new grounds for veteran director Martin Scorsese, and that may explain why he has chosen to pile so much excess in a film that could (but probably shouldn’t) have been told far more economically. Centered around Wall Street trader Jordan Belfort’s short-lived (but lucrative) career in the waning days of the twentieth century, The Wolf of Wall Street does make an attempt at the usual tragic structure of such films: The introduction to a life of crime, the excessive fun and games of the high-flying protagonist, the enemy forces closing in, and the final disgrace as the protagonist loses everything. But the proportions are different of the norm: The introduction is frantic, the downfall takes less than two minutes and the rest of the film is pure excess piled upon pure excess: Drugs, sex, nudity, profanity all jostle for screen-time in this three-hour paean to the utter corruption made possible by a multi-million-dollars annual salary and an enabling environment without restraints. Leonardo DiCarpio is simply magnificent as the protagonist: Smart, driven, charismatic, absolutely corrupt and unable to stop himself. He directly addresses the audience as the revelry is unleashed around him, reassuring us that this is all illegal and that we wouldn’t understand all of the details. Not that we need to: At a time where Wall Street excesses are well-known and even celebrated, The Wolf of Wall Street doesn’t need to waste its time giving us a moral lesson: It would rather give us a full-throttle ride through decadence without false reassurances that sociopathic behavior always gets what it’s due. It makes for a lousy Sunday-school example, but an absolute marvel of a film: The Wolf of Wall Street is rarely less than hypnotically compelling, the work of a director working at his best. Many actors get their chance to shine here besides DiCaprio: Jonah Hill gets a ton of laughs (especially during a Qualuude-fueled scene with DiCaprio that already ranks as a classic bit of physical humor), Matthew McConaughey continues his white-hot acting streak in a pair of film-stealing scenes, while Margot Robbie gets a plum role that requires as much sex-appeal as honest acting talent. It amounts to a terrific thrill-ride of a film, slick in all the right ways and unusually respectful of its adult audience. Frankly, I’d rather see this film a second time than have a first look at many other films in my playlist.

  • Dallas Buyers Club (2013)

    Dallas Buyers Club (2013)

    ByChristian Sauvé Movie Review

    (Video on Demand, February 2014) Three decades after the beginning of the AIDS crisis, twenty years after the obvious tears of Philadelphia, we’re not talking about the disease the way we used to, even in historical retrospectives. Dallas Buyers Club may go back to 1986, but it does so with the knowledge that AIDS has, in some ways, become a treatable chronic disease. Rather than focus on the inevitable death sequence (although we do get that), it’s a film that dare to blend all-American entrepreneurial spirit, antiestablishment smuggling and expert-defying hunches into a fight-back story against AIDS. Anchoring the film is Matthew McConaughey’s astonishing physical transformation into a gaunt but indomitable figure, as his radical post-Lincoln Lawyer career renaissance had led him to a pivotal dramatic role (and modified audience expectations accordingly). Jared Leto and Jennifer Garner turn in serviceable supporting roles, but this is really McConaughey’s movie. Skillfully directed by Jean-Marc Vallée, Dallas Buyers Club offers a look at the early AIDS era that is both unflinching and more than occasionally entertaining as we see the protagonist defy the medical establishment’s glum predictions to provide a better life for other afflicted people. It’s a surprisingly entertaining film that keeps the preaching to a minimum –as should be, considering how attitudes have changed.

  • Mud (2012)

    Mud (2012)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2014) A coming-of-age drama blended with a crime thriller may not strike anyone as particularly promising movie experience, but thanks to writer/director Jeff Nichols’ savvy, Mud quickly becomes compelling viewing. After two teenage boys discover a fugitive living alone on an abandoned Mississippi island, they get drawn into a dangerous game between his girlfriend, bounty hunters and the adults in their lives. Matthew McConaughey scores another solid post-Lincoln Lawyer role as the titular Mud, a fugitive who ends up fascinating audiences as much as he mesmerizes his two teenage helpers. From a deceptively slow-paced first act, Mud gets wilder and more urgent as it goes on, culminating in a strong shoot-out that settles things for most characters. The sense of place in rural Arkansas is well-presented, and the banter between the two teenage leads is just as well-crafted: At times, the images were powerful enough to strongly remind me of my own teenage antics in rural Quebec. There’s a good heart in this picture, but enough hard edges to avoid it turning into a mawkish collection of clichés. While it may not sound like much of a high-concept on paper, Mud is quite a bit better than expected.