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Friday, June 30, 2017

The Beguiled

Like a Virginian.

In January, I listed my New Year’s Wishes for 2017 at the movies. I wished that Wonder Woman would be wonderful, Logan would be the Wolverine movie we’ve been waiting for and that the clearly uninspired remakes and sequels, specifically Baywatch, Mummy, Alien and Fifty Shades, would tank at the box office. I wished that the Oscars would move beyond #oscarssowhite. And I wished that Sofia Coppola would make our day with The Beguiled. 

Most of my wishes have come true, but while The Beguiled entertained me for a bit, it certainly did not make my day, and it won’t make my Best of the Year list. 

Director Sofia Coppola took best director prize at Cannes for The Beguiled. I can understand some of that. It is craftfully created, and each visual drips with the mossy visuals of a Civil-war era Virginia holding on to what beauty is left — but it’s not the film I hoped for. 

The story, a remake of the Clint Eastwood film from 1971, is a slight one. Colin Farrell, who I really want to like in a movie one day, is no Clint Eastwood. 

What does work, other than the Southern gothic scenery, is Nicole Kidman. Her politely suppressed character, like the best British and Southern movies, is sublime. I can tell you now without a spoiler, one static look in the final act will make her career montage.

Kidman is having one heck of a year from Lion to Big Little Lies to this. I should have wished for more Nicole Kidman in 2017.

Simply put: Not the film I hoped for, but a fine and pleasantly short film as counterpoint to the lengthy summer blockbusters at the cinema now.

Award potential: Nicole Kidman has a shot at Best Supporting Actress nominations on this one, but summer films are famously ignored. Kirsten Dunst was fine, but forgettable.

The Ten Buck Review: Worth ten bucks.

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