Entertainment
Review: Carved out of rough-hewn elements, 'The Dead Don't Hurt' charms with retro-western poise
Some actors seem made for westerns, even if they rarely appear in them. Viggo Mortensen, stalwart leading man of weathered good looks and appealing reserve, certainly qualifies. But now that he’s written and directed one, “The Dead Don’t Hurt,” Mortensen’s second feature behind and in front of the camera, he has generously shown us that the luminous Vicky Krieps belongs in that category, too. The supremely watchable pairing of these magnetic actors is what helps lift this lyrically crafted frontier love story above the usual efforts to restore the genre’s appeal.
The gently blossoming match of a strong-willed woman of French-Canadian origin with a taciturn, self-reliant Danish immigrant is this film’s beating heart, from their initial spark in San Francisco to their settling in a ramshackle cabin on the outskirts of a one-saloon Nevada town called Elk Flats. This being a western, though, the specter of death and violence is never far away. Mortensen even starts with a pair of grim scenes that in other films might be endings — one a private loss, the other a public shootout. They trigger the film’s temporally loose narrative tapestry, in which flashbacks (which have their own flashbacks) begin to feel as if the playing out of the past is this tale’s true present, the way it might feel to someone in mourning.
For big-city flower seller Vivienne (Krieps), who can take care of herself and relishes childhood memories of idolizing Joan of Arc, the attraction to rugged, kind-eyed carpenter Olsen (Mortensen) is in the promise of adventure, passion and mutual respect for each other’s rock-ribbed independence. We sense early on, from Mortensen’s delicate handling of their courtship, that this isn’t some musty rehash of the trope where she civilizes him and he domesticates her. Rather, watching them interact as they whip their home into shape, they come off as adults, not so much love-struck as love-sturdy. Clear-eyed about themselves and the realities of their adopted nation, they’re willing to forge something together, confident they’re there for each other in a time of growing turbulence.
The Civil War is nigh, for one thing, but part of that unease is local, too. There’s an air of menace in town, fostered by a corrupt alliance between the mayor and a wealthy businessman — played, respectively, by horse-opera dependables Danny Huston and Garret Dillahunt — plus the gleefully sadistic presence of the latter’s entitled, insolent son (a forbidding Solly McLeod). We fully expect that danger to touch the central couple’s lives when Olsen, a military veteran, feels compelled to fight for the Union, leaving behind Vivienne, who begins working at the saloon’s bar. Before long, her fortitude is put to the severest of tests, and eventually, so is Olsen’s, upon his return years later.
Tension is high in a scene from “The Dead Don’t Hurt,” a love story set during the Civil War.
(Marcel Zyskind)
There’s little the radiant Krieps (“Phantom Thread”) can’t do with a headstrong, ahead-of-her-time character, and in period stories especially, she preserves a spiky modern sensibility — both the rose and its thorns. The durably authentic Mortensen, meanwhile, understands that his mostly reactive role is closer to a featured part than a lead. At times in his scenes with Krieps, you’d swear his smitten expressions are as much about a director’s gratitude than a lonesome tradesman’s good fortune. (Mortensen, for whom this project is clearly personal, also wrote the forlorn cello-and-violin score, which mostly satisfies, if at times calling to mind a Ken Burns history lesson awaiting old-timey narration.)
“The Dead Don’t Hurt” is soothingly picturesque, meeting the requirement that any western worth its boots needs an evocative, immersive look to take in a campfire’s glow or the scorching glare of day. That task is handled with aplomb by cinematographer Marcel Zyskind, blessed with vista-rich locations in Durango, Mexico, and Canada. But it’s also helped immeasurably by actors whose faces, in any given light, photograph like their own rich landscapes, of happiness, strength, care and pain.
‘The Dead Don’t Hurt’
Rating: R, for violence, some sexuality and language
Running time: 2 hours, 9 minutes
Playing: Now in wide release
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‘Clayface’ trailer teases DC Studios’ first proper horror movie
The DC universe is going full on body horror.
DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.
Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.
The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.
According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”
“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.
Who is Clayface?
Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”
Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.
Other versions of Clayface have been introduced in various media since.
Who is in ‘Clayface’?
The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.
Who are the ‘Clayface’ filmmakers?
Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).
The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
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