Subterms
Shape-shifters by design, actors have their methods but many also have distinguishing features — sunburst smiles, rolling walks — that become their signatures. Memorable performers, after all, don’t simply catch our gaze, they seize it, holding and keeping it tight. And few performers have held us as powerfully as Clint Eastwood, who has cemented himself […] More
In his latest (and perhaps last) movie as a director, Eastwood casts a skeptical eye at the criminal justice system in a mystery starring Nicholas Hoult.Clint Eastwood has been such a familiar force in American cinema for so long that it’s easy to think you’ve got him figured out. Yet here he is again, at 94, with a low-key, genuine shocker, “Juror #2,” the 42nd movie that he’s directed and a lean-to-the-bone, tough-minded ethical showdown that says something about the law, personal morality, the state of the country and, I’m guessing, how he feels about the whole shebang. He seems riled up, to judge from the anger that simmers through the movie, which centers on a struggle to find justice within — though perhaps despite — an imperfect system and in the face of towering self-interest.Justin (a very fine Nicholas Hoult) has just finished fixing up a baby nursery at home when he walks into a Savannah, Ga., courtroom to report for jury duty. He and his wife, Allison (Zoey Deutch), are expecting, and tying themselves into knots of worry because several years earlier, their last pregnancy ended tragically. For them, his civic duties couldn’t have come at a worse time. Even so, Justin shows up, eager and attentive, and before long is seated on a jury in a criminal case that takes an abrupt, unexpected turn: The defendant has been charged with murder, and Justin quickly realizes that he himself might be the real killer.Did he or didn’t he is one question, and the start of a mystery, both procedural and existential, that soon finds Justin playing at once a freaked-out juror, potential culprit and dogged detective. The defendant on trial, James (Gabriel Basso), has been accused of murdering his girlfriend, Kendell (Francesa Eastwood, the director’s daughter). They’d been drinking at a local dive when they began arguing. They went outside, where it was dark and pouring rain, and continued to fight in front of a smattering of customers who had followed them. She walked off alone, he trailed after her in his truck, and before long she was dead.It’s a deliciously twisted setup, like something out of an old film noir in which the hero becomes the main suspect and, by desperate default, also slips into the role of a detective working the case. In this movie, voir dire has scarcely ended — Eastwood, who famously likes to work fast, races through the typical preliminaries — when Justin is sweating in the jury box and listening to the prosecutor, Faith (Toni Collette), and the defense lawyer, Eric (Chris Messina), make their cases. Before long, the lawyers have made their closing arguments, and Justin is sequestered in a room with 11 people who are also on the case.Eastwood takes a bit of time to find his groove. The opener is, by turns, pokey and rushed, and you can almost feel his impatience as he lines up the story’s pieces. He doesn’t seem to have spent much time thinking about the movie’s visuals; they look fine, I wish they looked better. He seems especially uninterested in Justin’s home life, and given how dreary and claustrophobic it looks, you can hardly blame him. Once the trial begins and the lawyers start prodding and probing, Eastwood settles in nicely. Justin realizes that he was at the bar the same night as the defendant and victim, triggering a series of jagged flashbacks that, as the trial continues, grow longer, more detailed and, in time, help fill in the larger picture.Written by Jonathan A. Abrams, “Juror #2” is a whodunit in which justice turns out to be as much on trial as the defendant. Both sides seem to have a weak case. The defendant is shady, the autopsy inconclusive, the only witness questionable, and there’s an enigma among the jurors, most of whom just want to go home. And while Eric nevertheless delivers a righteously indignant defense, Faith seems overly eager to wrap things up, partly because she’s running for district attorney and already fake-smiling like a glad-handing politician. Their arguments are shrewdly handled, pared down and delivered in a dynamic volley of edits that turn their speeches into a he-said, she-said duel, with a stricken Justin caught in the middle.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More
Arnold Schwarzenegger has been a part of the American landscape for so long that the improbability of his story is all too easy to take for granted: An immigrant bodybuilder from Austria with a long and unwieldy name, a heavy accent and a physical appearance unlike that of any other major movie star became one […] More
Eisenberg performed in several Broadway productions between appearances as the defense lawyer Roger Kressler on NBC’s long-running police drama “Law & Order: Special Victims Unit.”Ned Eisenberg, a character actor known for his work on popular shows including “Law & Order: Special Victims Unit” and “Mare of Easttown,” died at his home in the Jackson Heights section of Queens on Sunday. He was 65.The cause was cholangiocarcinoma, a cancer of the bile duct, and ocular melanoma, according to a statement from his agent, Jeanne Nicolosi, issued on his family’s behalf.Eisenberg was a New York character actor whose roles in film, theater and television spanned the past four decades on Broadway and in Hollywood.Fans of the NBC police procedural “Law & Order: Special Victims Unit” may best remember him as the defense lawyer Roger Kressler, a recurring character on the long-running drama. From 1999 to 2019, he appeared in two dozen episodes of the show — mostly as Kressler, but twice early on in other roles, according to IMDb. He also appeared in other series in the “Law & Order” franchise, playing different roles.Ned Eisenberg was born on Jan. 13, 1957, in the Bronx. He grew up in the Riverdale section of the Bronx, where he attended Riverdale Junior High School.In 1975, he graduated from what is now the Fiorello H. LaGuardia High School of Music & Art and Performing Arts, in Manhattan, where he studied acting.He began his professional theater career in Neil Simon’s “Brighton Beach Memoirs” and appeared on Broadway as Truffaldino in Julie Taymor’s “The Green Bird” (2000) and as Uncle Morty in Bartlett Sher’s “Awake and Sing!” (2006), according to Nicolosi.In a New York Times review of “The Green Bird,” Eisenberg and other cast members were credited with bringing “a balletic grace” and “antic shtick” to the performance, in which he and Didi Conn played “a Punch-and-Judy pair of sausage makers.”He performed in lead roles in theaters around the Northeast including the Theater for a New Audience, New York City Center and the Williamstown Theater Festival.He was an early member of the Naked Angels Theater Company along with Kenneth Lonergan, Frank Pugliese and Joe Mantello. The actors Rob Morrow, Mary Stuart Masterson, Nancy Travis and Gina Gershon were also among the founding members of the group, which was started in 1986 to serve as a “creative home for new voices.”In 2009, he played Iago in a Theater for a New Audience production of “Othello.” In a review for The Times, Charles Isherwood wrote that Eisenberg’s performance was “decked out in small, witty flourishes,” noting that “the bitter half-smile with which Iago looks on at the waste he has wrought in the final scene says everything about his shriveled soul.”In supporting roles throughout his career, Eisenberg worked with Academy Award-winning directors and filmmakers.In 2004, he played the boxing manager Sally Mendoza in Clint Eastwood’s “Million Dollar Baby,” which starred Hilary Swank and won the Oscar for best picture. Eisenberg played the photographer, Joe Rosenthal, in “Flags of Our Fathers,” another film by Eastwood, about the six men who raised the flag at the Battle of Iwo Jima during World War II.Eisenberg also acted in “World Trade Center,” a 2006 Oliver Stone drama about police officers who responded to the Sept. 11 terrorist attacks, and the 2011 thriller “Limitless,” starring Bradley Cooper.Last year, he appeared in the Emmy Award-winning HBO drama “Mare of Easttown” as Detective Hauser.He is expected to return as the manager Lou Rabinowitz in a coming episode of “The Marvelous Mrs. Maisel” on Amazon Prime.He is survived by his wife, the actress Patricia Dunnock, and a son, Lino Eisenberg. More
The Academy Award-winning director accused a Lithuanian company of falsely claiming that he had endorsed CBD products.The actor Clint Eastwood and Garrapata, the company that owns the rights to his likeness, were awarded $6.1 million on Friday in a lawsuit they had filed against a Lithuanian company that was accused of using Mr. Eastwood’s image and likeness to make it appear as though he was endorsing their products.Last year, Mr. Eastwood filed two lawsuits in federal court in Los Angeles against three CBD manufacturers and marketers whose products were featured in an online article falsely claiming that he endorsed CBD products, as well as 10 online retailers who he accused of manipulating search results through meta tags. (CBD is cannabidiol, a nonintoxicating compound in the cannabis sativa plant.)According to the first lawsuit, the online article contained a fake interview with an outlet meant to resemble the “Today” show. It included a photo of Mr. Eastwood from an actual appearance on “Today,” as well as links to buy the items.“Mr. Eastwood has no connection of any kind whatsoever to any CBD products and never gave such an interview,” the court documents said.The judge, R. Gary Klausner of United States District Court for the Central District of California, entered a default judgment after Mediatonas UAB, the company that published a fabricated interview with Mr. Eastwood, failed to respond to a summons in March. Mr. Eastwood and Garrapata were then awarded $6 million based on the company’s unauthorized use of his name and likeness, along with about $95,000 in attorneys’ fees and a permanent injunction that blocks future use of his name and likeness.“In pursuing this case, and obtaining this judgment, Mr. Eastwood has again demonstrated a willingness to confront wrongdoing and hold accountable those who try to illegally profit off his name, likeness, and goodwill,” said Jordan Susman, a lawyer for Mr. Eastwood, in a statement.Mediatonas UAB could not be reached for comment.Mr. Eastwood, 91, who recently starred in and directed “Cry Macho,” has enjoyed a lengthy Hollywood career that has ranged from inhabiting tough-guy roles (“Dirty Harry”) to directing dramas like “Million Dollar Baby” (2004), which won best picture at the 2005 Academy Awards.The original complaint, filed in July 2020, named as defendants the companies whose products were being advertised in the article. In February, Mr. Eastwood’s lawyers filed an amended complaint against Mediatonas UAB, the company that owns the websites where the false stories appear.While the court agreed that Mr. Eastwood and Garrapata were entitled to damages for the unauthorized use of his name and likeness, it declined to grant their full request, which also accounted for defamation claims.“It requires additional context to understand what CBD products are and why a person like Clint Eastwood would not endorse a marijuana-based product,” the judge wrote, adding that the language used “was not libelous on its face.” More
In his latest film, Clint Eastwood drives across Mexico with a troubled young man and a combative rooster.Mike Milo is a former rodeo rider and horse trainer — an ornery old cuss with a complicated past and a soft spot for children and animals. He’s a grouch but also a professional, with a deep knowledge of his craft and a flinty sense of honor. To put it in simpler terms, he’s played by Clint Eastwood.Eastwood also directed “Cry Macho,” in a stripped-down, laid-back style that perfectly suits Mike’s approach to life. Sometimes in Eastwood’s films — going all the way back to “Play Misty for Me” — there’s daylight separating filmmaker and star, a palpable, if often subtle difference of perspective between the laconic, narrow-eyed man onscreen and the sly, adventurous artist behind the camera. This time, maybe not so much. Which is just fine.Mike has a risky job to do but, but he approaches his duties with no particular urgency, preferring to drive slowly and take in the scenery. Eastwood, notionally committed to doing something in the angry-dad revenge-rescue genre, uses the plot (supplied by Nick Schenk and N. Richard Nash’s script, based on a novel by Nash) as an excuse for a leisurely excursion through a picturesque landscape. Mike is on a mission, yes, racing the clock and pursued by dangerous hombres on both sides of the law. But that doesn’t prevent him from rolling into a quiet Mexican hamlet and remarking to his companions: “This looks like an interesting town. Let’s check it out.”Those companions are a 13-year-old boy named Rafo (Eduardo Minett), and Rafo’s prized fighting rooster, Macho, a noble bird who gives the film its title and its theme. Rafo, abandoned by his Texan father and abused by his Mexican mother, is attached both to Macho and to an ideal of tough, strutting masculinity. One of Mike’s tasks is to offer, by precept and example, an alternative way of being a man. Nothing too soft, mind you — this is still Clint Eastwood we’re talking about — but a more patient, less furious approach to life.“This macho thing is overrated,” Mike says. “You think you have all the answers, but then you get older and realize you don’t have any. By the time you figure it out, it’s too late.” What that amounts to is a benign form of fatalism, a humility that the rest of the movie upholds. The button-pushing and liberal-baiting that flared in “The Mule” and “Richard Jewell” aren’t much in evidence here, and the canonical Eastwood persona — the avenger of innocence who dwells in legal and moral gray zones — is in a state of semiretirement. There is evil in the universe, but it might not be entirely his problem.The opening scenes suggest otherwise. Rafo’s father, Howard (Dwight Yoakam), a big shot Texas rancher and Mike’s former boss, dispatches Mike to Mexico to collect the boy. Though Mike doesn’t much like Howard, he feels a sense of obligation, since Howard helped him get back on his feet after a series of personal tragedies.Once across the Rio Grande, Mike finds Howard’s “nutcase” ex-wife in her bedroom, and their son at a cockfighting ring. It’s 1980, by the way. The existence of GPS, cellphones and heavy security on the United States-Mexican border would spoil the atmosphere. Mike, Rafo and Macho light out in a series of Detroit junkers — mostly stolen, though nobody seems to mind — pursued by mom’s nasty boyfriend and the occasional federales.Now and then, Mike calls Howard from a pay phone. The whole project turns out to be more complicated than it seemed at first. “Don’t trust anyone” is Rafo’s mantra. That may be too sweeping, but “don’t trust anyone played by Dwight Yoakam” is a pretty good rule of thumb. As the old man, the boy and the chicken make their way down the highway, you can anticipate the turns the story will take.But not quite. The twists arrive, but not with the impact you might expect. What started as a thriller takes a long detour into the pastoral, as car trouble strands our travelers in a quiet village with a sweet cantina run by a widow named Marta (Natalia Traven). She and Mike get up to some heavy “Bridges of Madison County”-style flirting, while Rafo spends time with one of her granddaughters. There are some wild horses that need breaking, and other animals to look at, and whatever else needs to be dealt with can just wait awhile.Maybe this will make you restless. Maybe you want car chases, gunfights, quotable catchphrases and somber meditations on violence, justice and the American West. If so, there is a whole Clint Eastwood filmography to peruse. This one is something different — a deep cut for the die-hards, a hangout movie with nothing much to prove and just enough to say, with a pleasing score (by Mark Mancina) and some lovely desert scenery (shot by Ben Davis). If the old man’s driving, my advice is to get in and enjoy the ride.Cry MachoRated PG-13. Rough language and behavior. Running time: 1 hour 44 minutes. In theaters and on HBO Max. More
