R.I.P. Robert Redford: The Sundance Kid Once Saved Cinema

Robert Redford, the iconic movie star, filmmaker and Sundance Institute founder, died yesterday at the age of 89.

As gigantic a movie star as Robert Redford was…and he was a monumental movie star, particularly in the 1970’s, the most important thing about him is what he did for, or to, the film industry with his creation of the Sundance Institute and the Sundance Film Festival – which he took over in the mid 1980’s.

It is impossible to imagine the depths to which filmmaking would have fallen if Redford had not built Sundance, the place where “independent” filmmakers could develop and then show their films.

Without Sundance, the renaissance of cinema in the 1990’s, which includes the emergence of such filmmaking luminaries as Quentin Tarantino and Paul Thomas Anderson, would never have occurred.

Did Sundance quickly go from being sanctified and deified to becoming corporatized and commodified? Yes, it did. And is it now little more than a movie business version of the red-light district in Amsterdam? Yes, it is. But that doesn’t diminish its original importance or the good it did for cinema back in the early days…and it is crucial that we do not forget that when remembering Robert Redford.

As for Redford the actor, he was an impossibly handsome leading man who was gifted with a tendency toward stillness (a skill few actors possess) and the ability to share the screen with other actors with a charming effortlessness.

Redford was a good movie star, good enough that he could unflinchingly share a screen with Paul Newman, one of the biggest movie stars of all-time, for two memorable movies – Butch Cassidy and the Sundance Kid, and The Sting.

He was also a good and often underrated actor, who could comfortably share the screen with acting luminaries like Dustin Hoffman and Meryl Streep.

Redford, with his all-American good looks and stoic demeanor, resembled an old school movie star from the studio system but who hit his heights during the glorious age of the New American Cinema in the free-wheeling 1970s.

Redford catapulted to enormous fame in 1969 when he starred with Paul Newman in Butch Cassidy and the Sundance Kid – what some have called the perfect movie.

Butch and Sundance – with their snarky bromance, are essentially the template for every action comedy and Marvel movie of the last 50 years. You don’t get the Lethal Weapon, Die Hard and Marvel franchises without Butch and Sundance and their witty quips to one another under fire.

Butch Cassidy and the Sundance Kid really is a remarkable movie in that it is pure movie star popcorn entertainment but its shot with a glorious aplomb by Conrad Hall – and directed with verve by George Roy Hill.

Redford and Newman’s chemistry is legendary, and while many have tried to replicate it – like George Clooney and Brad Pitt, none have succeeded. The problem with Clooney and Pitt trying to be Newman and Redford is that Pitt is not Redford - despite Hollywood’s determination to make it so, and Clooney sure as shit ain’t Newman, no matter how much Clooney tries to pretend otherwise.

Redford’s filmography is, not surprisingly considering the length of his career, a mixed bag.

His best/most popular films are most certainly Butch Cassidy and the Sundance Kid, Three Days of the Condor, All the President’s Men and The Natural.

I can say without hesitation that I unabashedly love all of those movies, and love him in all of those movies.

As previously stated, Butch Cassidy and the Sundance Kid is popcorn perfection. Three Days of the Condor is a truly spectacular film and a glorious piece of 70’s paranoid cinema that I adore. All the President’s Men is a movie with undeniable momentum to it that compulsively compels. And finally, The Natural is, in my not-so-humble opinion, the greatest baseball movie ever made and also a phenomenal American myth that Redford perfectly embodies.

As much as I love those Redford films, the Redford movies that I find most intriguing are Downhill Racer, Jeremiah Johnson and The Candidate. These three films, all from the 70’s, show Redford giving his most complex performances, and are all really fantastic films that are often-overlooked.

The final movie I’d recommend is the lone late-period Redford movie that I think works well. The film is 2013’s All Is Lost directed by J.C. Chandor, which is about a man lost at sea by himself. Redford barely speaks at all in this movie, and it was a ballsy performance for him to undertake. I loved the film but others hated it. I think it’s worth watching now as it will take on particular profundity in the wake of Redford’s death.

Another movie some have mentioned is 2018’s The Old Man & the Gun, directed by David Lowery. I thought this film was a misfire, but I could see how it could be nice to indulge in its nostalgia now that Redford has passed away.

As for Redford as a filmmaker, I never really thought very much of his directorial skills. Redford was undoubtedly interested in independence and freedom for other filmmakers but as a filmmaker himself he was extraordinarily restrictive in his artistry.

The films Redford directed, Ordinary People (for which he won a best Director Academy Award), The Milagro Beanfield War, A River Runs Through It, Quiz Show, The Horse Whisperer, The Legend of Bagger Vance, Lions for Lambs, The Conspirator, and The Company You Keep, are all suffocatingly staid and cinematically conventional.

The lone Redford directed film that I would recommend is Quiz Show, and even that is a rather middlebrow piece of mainstream cinema that never quite rises to the heights you feel like it should.

Regardless of the merits or imperfections in Robert Redford’s acting and directing career, the truth is that anyone who enjoys movies, be they cinephiles or cineplex-goers, owe a huge debt of gratitude to Robert Redford. Without Robert Redford and his Sundance Film Festival and Institute, both the movie business and the art of cinema would be in much worse shape than they are today – and it;s important to remember that the Sundance Film Festival never happens if Robert Redford doesn’t become the Sundance Kid.

So, a big tip of the cowboy hat to the Sundance Kid on a job well done and a life well lived. Thanks for saving cinema…let’s hope that one day that it can rise from the ashes and once again be worthy of all you’ve done for it.

By the way…here is a 2013 article I wrote about Redford’s acting that you might find of interest.

Stillness: Lessons from Redford, DeNiro and Penn

©2025

Wolfs: A Review - This Star-Studded Dog Won't Hunt

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 1.5 out of 5 stars

My Recommendation: SKIP IT. Nothing to see here at all.

Wolfs, starring Brad Pitt and George Clooney, is the new movie on Apple TV + that tells the tale of two New York City based lone-wolf “fixers” who are forced to work together on a complicated job.

The film, written and directed by Jon Watts – who is best known for directing the recent Spider-Man movies, describes itself as an action comedy, which is a bit of an inaccurate moniker since Wolfs is neither action-packed nor funny.

The film follows the travails of Jack (Clooney) and Nick (Pitt) as they are called to the hotel room of Margaret (Amy Ryan), who is running for District Attorney. Unfortunately for Margaret, the young man she brought back to her hotel room for a tryst has died and so she calls a secret number and a fixer is sent. Then there’s a twist and another fixer is sent and these two lone wolf fixers do not want to form a pack and work together. Comedy is supposed to ensue…but never does.

Writer/director Watts uses a lot of filmmaking techniques, like numerous quick edits on mundane events like a car backing out of a parking space, and languid camera movements, to give the impression of cinematic sophistication, but he fails at even the most rudimentary elements of storytelling.

With a convoluted story and middling direction, the movie is forced to rely upon the star power of Brad Pitt and George Clooney.

Pitt and Clooney have, to varying degrees of success, previously worked together in the Ocean’s Eleven movies, and their reunion on Wolfs is meant to cash in on their status and stardom. In other words, Wolfs is our chance to hang out with two handsome, cool, movie stars for two hours – lucky us.

Unfortunately, Wolfs features zero chemistry, zero comedy and zero coherence. It is one of those movies where as you’re watching it you feel like you’re waiting for the story to actually start and it never really does.

The plot of Wolfs has all the clarity of a drunk toddler’s storytelling while playing with action figures. The rules of the world in Wolfs are random, arbitrary, confusing and ultimately annoying. Nothing makes much sense and it seems as though none of it was really meant to.

In this way Wolfs is a perfect companion piece to the previous movie Apple Films released, The Instigators, starring Matt Damon and Casey Affleck. Both movies are so vehemently vapid, vacant and venal as to be apocalyptic. If some poor soul were to watch these bro-fueled bombs back to back they’d be tempted to light themselves on fire in order to feel something, anything at all, and to kill the malignant stupidity that was just implanted in their brains.

The final scene of Wolfs is the one that helped me to understand how Clooney and Pitt see themselves, or at least see their pairing, and it is astonishingly delusional. I won’t give anything away except to say that this scene is meant to demonstrate that Clooney and Pitt are the modern-day Paul Newman and Robert Redford.

Let me be as clear as I can about this…Clooney and Pitt are not Newman and Redford. Not even close. They never have been and they never will be.

To be fair, Pitt has matured into a much better actor than his pretty boy beginnings would’ve hinted, and he’s become a very astute and successful producer as well. His choice in projects and his taste are admirable, but let’s not kid ourselves, he’s no Robert Redford.

Clooney is, obviously, not Paul Newman, who was one of the greatest actors and movie stars in Hollywood history. Clooney is now, and frankly always has been, a bad actor, a bad movie star and a truly terrible director.

For the last twenty-five years or so Clooney has been one of those people who populate our culture who are only famous for being famous. He’s the male equivalent of Jessica Simpson, and equally as vacuous.

It has been reported that Clooney and Pitt were paid $35 million each to star in Wolfs, which if true, is pretty amusing. Apple’s desperation to be a player in the movie business has forced them to pay exorbitant prices to talent in exchange for truly abysmal movies. Considering that Martin Scorsese’s Killers of the Flower Moon is the best Apple movie ever made, and is one of Scorsese’s lesser films, is an indictment of Apple, the movie business and Killers of the Flower Moon.

Wolfs spent a week in theatres before hitting Apple TV+ on Friday September 28th. It will, rightfully, languish on that atrocious, backwater of a streaming service, mercifully hidden from wider audiences. Those without Apple TV+, and those unable to navigate the incomprehensible maze that is Apple TV+ to find Wolfs, are blissfully unaware of how truly lucky they are.

In conclusion, Wolfs is a poorly conceived and poorly executed movie that is so small and inconsequential as to be instantaneously forgettable. It means nothing. It has nothing. It is nothing.

©2024

The Last Movie Stars (HBO Max): A Documentary Review

****THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 4 out of 5 stars

My Recommendation: SEE IT. An insightful and thoughtful examination of two Hollywood icons and their long marriage.

The Last Movie Stars is a six-episode documentary mini-series which examines the lives, careers and marriage of acting icons Joanne Woodward and Paul Newman. The series was directed by actor Ethan Hawke and is currently streaming on HBO Max.

Since well before I was ever born, Paul Newman and Joanne Woodward were the standard for the perfect marriage. Newman was the impossibly handsome, gracious, generous and grounded movie star, and Woodward was his down-to-earth, doting wife, mother to his kids and a powerful, Academy Award winning actress in her own right.

I once had the surreal experience of sitting directly behind them at a play at the Brooklyn Academy of Music about twenty years ago, and was struck by two things…how ridiculously beautiful they both were and how unnervingly normal they were as a couple. If it weren’t for their impeccable bone structure and piercing eyes, they could have been any other old couple out for a night at the theatre.

The Last Movie Stars attempts to go beyond the sterling façade of Newman and Woodward’s marriage and reveal their personal complexities and their deeply complicated relationship to one-another, their kids and their art.

Hawke obviously respects, admires and adores his subjects, and the series is much closer to hagiography than hit piece, but to his credit, he doesn’t dismiss or ignore the messier aspects of both Woodward and Newman’s lives. For instance, though it is done with a loving touch and no sense of animosity, Newman and Woodward’s children speak frankly and freely about their father’s alcoholism and their mother’s somewhat indifference to raising children. The rather uncomfortable topic of how the two met and started dating is also thoroughly explored and it isn’t the least bit flattering to Newman…or Woodward.

Hawke bases his documentary on a discarded memoir that Newman had intended to write with the help of a co-writer. Newman gave that writer permission to interview everyone in Paul’s life, which the writer did. But the tapes of those interviews were burned when Newman decided against the book…but thankfully the transcripts of those recordings have now been found and are the roadmap for The Last Movie Stars.

To bring those transcripts to life Hawke enlists a bunch of famous actor friends to voice the people from the transcripts. For example, George Clooney voices Paul Newman, Laura Linney is Joanne Woodward, Zoe Kazan is Paul’s first wife Jackie, Bobby Cannavale is Elia Kazan and so on and so forth.

It is somewhat ironic that George Clooney voices Paul Newman as his casting proves the title’s point. Newman was a mega-movie star with an Actor’s Studio background who dominated movies for forty years. Clooney was supposed to be as big of a star but he lacked, first and foremost, the craft and skill of Newman, but also his charisma and his artistic prowess.

There’s a very strong argument that Newman really was the last movie star because he was a “method actor” raised in the studio system who transitioned through the artistic/business revolution of the 60’s and 70’s without losing any of his star power.

George Clooney, Brad Pitt, Tom Cruise and all the rest of the recent era wannabes have certainly had success, but their cinematic, cultural and artistic power is minuscule compared to Paul Newman.

Much to my surprise, Hawke’s decision to voice cast the film with well-known actors works astonishingly well. In addition, Hawke’s rapport with his cast in side discussions is endearing and brings a familial feel to the festivities.

 As for Newman and Woodward, their individual journeys and their journey together, are simply remarkable.

Newman came up during the Method Acting revolution of the late 1940’s and early 1950’s. He attended the Actor’s Studio in New York with luminaries such as Marlon Brando and James Dean.

Newman was born ten months after Brando, but he was no Brando. He wasn’t James Dean, either. But thanks to an undying work ethic and an astonishingly persistent relationship with luck he carved out a career path that outlasted (but not outshone) them both.

As an actor Newman was different than Brando and Dean in that he wasn’t about emoting but withholding. Everything happening in a Newman character is happening beneath the surface, in a cauldron boiling deep in his famous blue eyes. That somewhat reserved approach at first left him overshadowed by his supernova contemporaries, Brando and Dean.

But then luck intervened and James Dean’s untimely death opened the door to Newman’s ascension and directly led to his being cast in Somebody Up There Likes Me.

Brando’s erraticism and combustibility eventually led him to burn out and self-destruct, while Newman’s tightly contained personality kept his career from ever falling apart. And so, Paul Newman, by sheer force of will, perseverance and luck, became the actor of his generation.

Joanne Woodward was a great actress in her own right. She was the bigger star when the two met, and early in their relationship she won a Best Actress Oscar (Three Faces of Eve). But patriarchal demands forced parenthood to replace career ambitions for her just as Paul’s career went meteoric. That would be a thorn in her side for the rest of their time together.

Woodward’s filmography is often overlooked, and even Zoe Kazan, a terrific young actress who’s a talking head in the documentary – and who happens to be Elia Kazan’s granddaughter, shockingly admits she has never seen a Joanne Woodward film. That’s a shame as in her heyday she was as good as anyone on screen. Her work in Three Faces of Eve and Rachel, Rachel is impressive and worth a watch to get a taste of her talent.

Newman’s filmography needs no introduction, and his work in The Hustler, Cat on a Hot Tin Roof, Cool Hand Luke, Hud, Butch Cassidy and the Sundance Kid, The Verdict and The Color of Money is must-see for any aspiring actor.

Watching The Last Move Stars is enjoyable because it gives Woodward and Newman’s work a new perspective that reveals even deeper meaning to their artistry. And that’s the thing about this supposed Hollywood glamour couple that is so compelling and impressive, and that is their commitment to two things, their art and each other.

Through thick and thin they stuck it out. They didn’t bail when things got tough, and things often got very tough. They endured, and that is a lesson for every couple out there, even the ones who aren’t glamourous movie stars.

Yes, Woodward and Newman stumbled a lot, both artistically and as people. For instance, Newman was a terribly flawed man and a failed father, but he was ever on the search for forgiveness and/or redemption. His staggeringly impressive charitable work, including his camp for seriously ill children and his Newman’s Own food lines, speak to that yearning.

Despite the slings and arrows of life, or maybe because of them, Woodward and Newman never lost their humanity. It’s their flaws and failings and their steadfast refusal to give up in the face of them that make them relatable and even more captivating as a couple.

The Last Movie Stars is as insightful a documentary about movie stars as you’ll find because it focuses less on the myth and more on the humans embodying the myth. Ultimately, this documentary is, like the stars it attempts to explore, most notable for its humanity, and that’s a credit not only to the extraordinary Paul Newman and Joanne Woodward, but to Ethan Hawke.

©2022