Julie Christie

The Company You Keep

Robert Redford’s Jim Grant speaks a poignant line in his latest film, The Company You Keep, stating, “Secrets are dangerous things. We all think we want to know them, but if you’ve ever kept one yourself then you understand to do so is not just knowing something about someone else, it’s discovering something about yourself.” As the film’s ominous title suggests, The Company You Keep is about uncovering secrets and what doing so can mean for the people keeping them and those desperate to reveal them. Driven by dynamic performances from an all-star cast, The Company You Keep is as much about what is said as what is not said, all underscored by a restrained, but moving score from Cliff Martinez. Martinez’s rock band roots have made him no stranger to electrifying his scores and pushing the boundaries of standard orchestration. Unlike the thriller pulse Martinez created for last year’s Arbitrage (another story about a man who is not everything he first seems), he takes a different approach to The Company You Keep relying heavily on the use of one of his go-to instruments, the baschet cristal, to create music that hovers in the background like an unwanted thought, dissonant while still being memorable.

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Robert Redford in The Company You Keep

Just last week we reported that Robert Redford’s latest film, The Company You Keep, managed to score a distribution deal before it even played any festivals. Well, the film is gearing up to play Venice and Toronto regardless, so TIFF has released a trailer promoting it. Complete with typewriter sounds and vintage news footage, said trailer starts off by making The Company You Keep look like it’s going to be an authentic, journalistic look at the history of the radical anti-war group The Weather Underground, but then we’re suddenly dumped into present day, and it’s revealed that this is actually going to be a fun-looking chase movie about the last few members of the movement still being on the run from the law. The Company You Keep is full of grizzled old activists/bank robbers, plucky young reporters, plucky young F.B.I. agents, action, intrigue, murder, and a cast that features names like Redford, Susan Sarandon, Shia LaBeouf, Brendan Gleeson, Anna Kendrick, Terrence Howard, Nick Nolte, Sam Elliott, Richard Jenkins, Chris Cooper, Brit Marling, Julie Christie, Stephen Root, and Stanley Tucci.

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Robert Redford in The Company You Keep

The latest directorial effort from screen legend Robert Redford, The Company You Keep, was all set to make a big splash and impress distributors at the upcoming deal-making feeding grounds that are the Venice and Toronto International Film Festivals, but a new development is making it look like the film’s screenings at those fests are going to come off as something of an afterthought. If you’ve got a used car that you need to get rid of, or maybe some old exercise equipment lying around that you’ve been thinking of putting on eBay, then maybe you should think of having Redford write the ad copy for you, because it seems that he’s something of a salesman. THR is reporting that the director, along with his fellow producers Nicolas Chartier and Bill Holderman, have already struck a deal with Sony Pictures Classics to handle all U.S. distributions rights for the film. Based on a book by Neil Gordon, The Company You Keep stars Redford himself as a former Weather Underground militant, wanted for bank robbery and murder, who gets exposed decades after his crimes by a meddling young reporter (as played by Shia LaBeouf).

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Red Riding Hood is the single most confusing movie-going experience of the last decade. The movie itself is not confusing. No, no. Far from it. The movie itself is about as straightforward as it gets. The characters all say either exactly what’s happening or exactly what’s on their minds pretty much at all times. It’s the few moments of pure storytelling inspiration, cliche-busting plot turns, and great performances amidst a sea of terrible that’s completely baffling. How can things that great be involved in something so awful?

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If I could finish that time machine taking up space in my guest room to travel back to visit college-aged Gwen I think the first thing I would tell her would be to take more notes in her Film Studies classes. Remarkably she would need them nearly five years later. All those hours spent in the dusty, haunted film book section of the library stacks devouring the almost forgotten tomes detailing women’s objectification in cinema, the battle between art and pornography, and the influence of 1960s era sexploitation films on modern day moviemaking would definitely not be for naught. I still have vivid memories of discovering there were in fact sexy movies being made before 1970, and they were considered treasured celluloid artifacts. In 1966 the previously used American rating standard known as the Hays Code was traded out in favor of the industry-wide rating system we now know. While the studios got used to this new form of self-governing rather than censoring, many controversial films passed through to receive national distribution. Audiences could now attend sexual charged films just as easily as they could a family-friendly picture. By the time the rating system really got its legs in the late 1960s to early 70s it was too late. The country had had a taste of something always featured off-screen, and they wanted more. In the coming weeks I’m going to explore each decade’s contribution to modern-day exploration of sex on screen. I chose to start in the middle, mostly […]

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Say what you want about Oscar politics, all these ladies have some serious game.

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Unlike the Golden Globes, the actors were on hand at the 2008 Screen Actors Guild awards.

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Didn’t get a chance to see the Golden Globes Telecast on the TV Guide network? We did. And trust us, you didn’t miss much…

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published: 04.16.2014
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published: 04.16.2014
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published: 04.16.2014
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published: 04.14.2014
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