Cry Macho Review – Even Clint Eastwood Can’t Save The Rope West | Movies
There’s a crunch of old leather (and stuff) in this outrageously dated and hokey sentimental western, made from a script that has been around the industry for decades; it’s a Swiss cheese with bizarre plots that takes place in 1979, clearly because that’s when it was conceived. Only the residual charisma and fascination of his star director Clint Eastwood keeps him from sinking completely, and only this living legend could get away with asking us to believe his character is terribly attractive to two younger women, his co. -stars here. being 40 and 52 years old.
Eastwood plays Mike, a Texas ranch veteran who lost his wife and son in a car crash and, in the first scene, gets fired by his cranky boss Howard (Dwight Yoakam) due to his later addiction to pills and alcohol. (We never see any sign of this addiction, and if Mike is supposed to be recovering, it’s pretty laid back – enjoying a cold beer in a scene.) Then a year later, that same Howard obviously revised his opinion. on Mike so until giving him the job of going to Mexico and saving Howard’s teenage son, Rafo (Eduardo Minett) from his Mexican ex-girlfriend, a sort of mafia matriarch who, according to him, has let the boy be abused anonymously. Mike heads south, gallantly declines a free sexytime experience offered by Rafo’s hot mum Leta (Fernanda Urrejola), finds Rafo with absolute ease during a local cockfight and so begins the dangerous journey home with Rafo and Rafo’s companion rooster, poignantly named “Macho” (an intentional irony of the film) while being chased by Leta’s henchmen. They stop at a blasted village where local cafe owner Marta (Natalia Traven) is also clearly struck by the old cowboy.
And so the film continues in absolutely predictable fashion, with Mike and Rafo getting along as father and son, or rather great-grandfather and great-grandson, with Rafo excited to go to the United States. and freedom, while the film asks us to forget about a very odd plot development that implies Howard could fire Rafo if the price was right. Well, it’s always good to see Eastwood defiantly sneak across the screen.