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May 11,  · Montana Story review: Well-acted western takes its time By Alex Welch May 11, Share Montana Story is not a film about cowboys, cowgirls, shootouts, or the bloodied . May 12,  · ‘Montana Story’ Review: Owen Teague and Haley Lu Richardson in a Well-Acted Tale of Family Demons Reviewed online, May 9, In Toronto Film Festival. MPAA . May 12,  · ‘Montana Story’ Review: Haunted Ranch Homecoming. In David Siegel and Scott McGehee’s new film, two adult children of a now-comatose father grapple with their .
 
 

– Montana story review

 
A story of a brother and sister coming to terms with a tragic family past, set against the backdrop of Montana’s big skies. A well-worth-seeing domestic drama; more backstory than story, beautifully shot with a pleasant sense of place, sensitively acted and directed. June 30, |.

 

Montana Story movie review & film summary () | Roger Ebert – Reviewed online, May 9, 2022. In Toronto Film Festival. MPAA Rating: R. Running time: 114 MIN.

 
I love the Copper Pit scene. The achievement of acting in this film cannot be overstated. When he enters, an overbearing beeping sound arises, and a kind-spoken Kenyan nurse named Ace Gilbert Owuor greets him. To help keep your account secure, please log-in again. Exposition and backstory is gradually hinted at until these fully realised characters finally reach their traumatic breaking point and the emotional payoff finally comes spilling out.

 
 

Montana story review.User Reviews

 
 

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Powered by WordPress. Log In. Sub Culture. RS Recommends. The side characters are all very interesting and strong, not throw-away characters, but people who have interesting stories, too. I definitely recommend this movie to anyone who loves movies, or horses, or Montana or the American West. And Haley Lu Richardson should win awards for her performance. I think she steals the show. Grumpy52 May 26, This review contains spoilers , click expand to view.

Wonderful, thoughtful movie. Superbly acted. Erin and Cal are normal, relatable, responsible young people trying to find their way forward as their childhoods and shared trauma come to an irrevocable close.

Siegel and McGehee made a huge — and to my mind, correct — choice to keep the film centered entirely in the present. There are no flashbacks, which would have been distractions. The pain of the past is acknowledged, but these characters have swallowed the pain, put on a brave face and meet the world with stoicism. They don’t need to wallow in the past. The viewers don’t need to see Erin being brutally beaten, or the years of neglect and escalating estrangement leading up to the breaking point, just to satisfy gratuitous voyeurism.

The film is anchored in today, and the question is whether Cal and Erin can let go, begin to forgive, and begin to heal. Erin’s excursion through Dante’s Inferno has drawn some comment and criticism. I thought it was a wonderful touch. This is a Rorschach test issue, so a word: the world is divided between those of us — I suppose we’re old fashioned and badly outnumbered — who have actually memorized a thing or two, preferably worthy things, versus the TikTok generation that lives in the eternal present with imaginations bounded by a tiny screen.

I had a throwback teacher who made us memorize the Gettysburg Address in 4th grade. We memorized all the creeds and reams of Bible verses prior to confirmation.

I’m a little rusty but at one time I could have rattled off all the presidents, the kings and queens of England and bits and pieces of poetry. And if you ever want to know the 12 Caesars and hear a short sketch on each, just look me up. Many of my friends can do the same sort of thing; this used to be part of a liberal education and the intellectual training of a disciplined mind.

The important purpose is not the particular thing that you memorize; it’s the mental habit and discipline of making something worthwhile truly your own. This has gone out of fashion in modern schools that have abandoned history and the canon, but I find it enormously attractive to come across a throwback character like Erin, who actually bothered to read a foundational piece of the western literary canon as an adult — and who picked out a list and a damned good one to make her own.

Good for her. My kind of girl. I also understand that the younger set today doesn’t have a clue about why this matters. Their loss. The supporting actors are wonderfully sketched, in quick but effective strokes. The movie is also less than perfect, and tends to err on the side of being modest and unassuming even the breathtaking natural vistas are photographed in a matter-of-fact way. But there are many rewards to be found here, not the least of which is a skill at staging scenes with beginnings, middles, and ends that are entirely dependent upon the subtle interactions of a few actors who live or die on the basis of the words they’ve been given to speak, and the silences they’ve been encouraged to inhabit.

Rated R for language. Haley Lu Richardson as Erin. Owen Teague as Cal. Gilbert Owuor as Ace. Kimberly Guerrero as Valentina. Eugene Brave Rock as Mukki. Asivak Koostachin as Joey.

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