Matt Damon gives arguably a career best performance in Stillwater, as a tightly-wound, reserved, Oklahoma roughneck doing his best to support his daughter, who has been convicted of murder and resides in a Marseille prison. We discuss the film’s origins in the real case of Amanda Knox and Meredith Kercher, consider how well the characterisation works and where it might fail, and work through our fundamental responses to the film: for José, it’s is an unusual and complex critique of American society and culture; for Mike, it’s hard to take seriously, its animus obvious and milquetoast. Wherever you land, though, Stillwater is a deeply engrossing drama and worth seeing.
Very funny in spots, now seems more contrived in others. Little Miss Sunshine predates the 2008 financial crash though there is still a mourning for a past ideal of America that the film values, longs for, and represents as now lacking. Steve Carrell is very convincing as the gay brother; the relationship between him and his sister (the marvelous Toni Collette who is wasted but nonetheless very good here) made touching in small details: the holding of hands, the looks. The film is a bit crude; the jokes mostly revolving around pretending to find scandalous and funny what comes out of Alan Arkin’s mouth and what the little girl (Abigail Breslin) does. I found the scenes with the policeman chuckling at the pornography rather forced and somewhat sad. I would say it was an easy indictment of contemporary America except so few films attempt any critique at all that any effort must be appreciated. It was a big box-office hit.