Best Movie I've seen in a while... (by LilsZoo2013)
Being a child of the times this movie was about, I cannot say enough about the authenticity of the feelings of those portrayed in the film. An important movie of a time lost, to the "new" technology of the gen-X. No cell phones, no computers. Our communication was with actual feelings and underground, unheard, simple word of mouth to those whose cares were for a better world, without war. That we were unheard at the time caused the radical behavior of some who put their lives on the line for some kind of justice to happen. We can't be the great Country that we are without paying <more>
some kind of price. There is no free lunch. And as we are all beginning to notice some of us don't have a lunch to eat, still. Make a difference. Stop tweeting and start feeding.
I loved this movie. The acting was superb. The action was enthralling. I loved the closeups of the older actors' faces focusing in on all their characteristic wrinkles and blotches. Their faces have such character!Little Jackie Evancho did extremely well also. She was actually the one who got me to see this movie, because I am a fan of hers and I saw some interviews of her discussing it. Ironically, given that she age 12 was my reason for going, I ended up most loving the fact that older actors were showcased and that, given their enormous experience, they were brilliant. As an older <more>
person myself, I like seeing movies were older people are featured.The young reporter was perhaps a bit less convincing than the seasoned actors, and that was partly due to the plot. I found very weird that this movie was rated R. Apparently there was one scene, which I did not even notice, where the "f" word was used several times, resulting in the "R". Otherwise there was no nudity and no significant violence -- just suspenseful chase scenes
excellent old school political thriller (by coiffuremixte)
Redford is in fine form as a director and also as an actor in this old- fashioned yet infinitely relevant film. What drives this film is its emotional depth rather than the manic pacing of more pulpy entertainment. The impatience of the modern audience means that a rich and extremely good film is hard to sell. In fact, the internal generational dialogue between Redford and LeBeouf's reporter shows acute awareness of the divide between the idealism of the 60's and today's flippancy.Probably the fault - other than being a bit teachy - in terms of impressing itself on the average <more>
modern viewer, is in the inclusiveness of Redford's art, there is no jumping up and down and saying 'look at my film, it's arty and cool!' only classical film-making focusing on the actors and the story at all times. It is also a political movie, 'Zero Dark Thirty' is always going to be pushed forward ahead of this liberal- minded and reflective movie.At the end of the day this film has soul and the enjoyment it brings will shine on when the flash of many modern thrillers has long faded.If you like those kind of Sunday afternoon movies that glow warmly and treat you well, this is for you.
I'm a fan of drawn-out, engrossing movies. Although this one doesn't go to the depths that would've made it a 10, it's got great actors, and a solid all around movie. Very good entertainment, plus it made me wonder about the meteorology site I so often use and am a decade-long+ member - the Weather Underground! Last movie I gave a 10 to was Inception. This one's a 9, based on my knowledge of cinematography - a bachelor's degree worth, and my personal tastes. There's a fine line between being a terrorist and being a patriotic freedom fighter. This movie dwelves some <more>
into that, but I believe that to make it to the top, you really have to drill hard on this one, really have to go into the meat of the plot that you're barely touching on historically.
Oh, the plot twist was pretty easy to figure out, once Ben Shepherd unearthed those childhood photos during his background research on Lurie and Grant-Sloan. Plus, the chronology was a little too mix-and-match.I mean; the movie according to that morning newspaper on Grant-Sloan's breakfast table was set in 2011. Which would make thirty years earlier 1981. Yet, the Weather Underground had disbanded about six or seven years before that! Which would have placed the bank robbery circa 1975 or thirty-six years earlier . So, rightfully, the writers should have rounded upwards to forty.I was <more>
also a bit disappointed that they didn't ultimately reveal who the accomplice was that _posed_ as Grant-Sloan during that fateful robbery and presumably killed that poor guard . But, on the whole? It was suspenseful and action-packed enough that I sat on the edge of my seat, when and where I was supposed to. I laughed at all the intended jokes. And, I softly applauded the happy ending.So, in my opinion, it was definitely worth the matinée price of $6.75.
Pushing 80.. and as compelling as ever (by A_Different_Drummer)
It was not that long ago that I happened to meet a female resident in a Florida retirement home with even stronger views on most topics than my own. The lady in question was 98 years old, and going strong. When the subject of Robert Redford popped up, she paused, as if considering for a moment some complex Newtonian equation, and then confided in me, shyly, "he doesn't look the way he used to." Truth is, none of us do. Truth is, I can claim to have seen every major film starring Redford over the last 50 years except THE WAY WE WERE. And I have tried to watch that one on a few <more>
occasions, but it aggravates my diabetes. And I don't have diabetes. Anyway, going into this film, produced, directed, and starring the almost 80 year old Redford, you need to know that this man is considered a deity by many in the industry, and his Rolodex is more prized than any at the "3 letter" agencies. When Bob Redford sets out to make a film, he picks his cast with the same care and precision that Mr. Phelps did in the old Mission Impossible series. Because he has access to just about everyone. Typical of the man, THE COMPANY YOU KEEP is subtle and seemingly underwhelming -- which explains the too-low IMDb rating. But the film does something that many "name" studio projects can't manage even with a budget 10x what this costs. It engages. You start the story with Redford and, lo, two hours later you end it with him. And you don't get bored, not even once. And you part company amicably. The old codger can move like a 20 year old when he wants to, and it is not much of a spoiler to tell you that for much of the film he is on the run - literally - and setting a pace to avoid capture that would test a man one-quarter his age. And, even better, he sells it, the vitality, the mobility, without CGI. Impressive. Shia Labeouf has done some impressive work since he left the Disney channel not counting Transformers, which was just a guilty pleasure but in this picture he achieves a startling amount of audience impact from, again, a very understated performance. Whether this film attracts a crowd or cult is not the issue. The issue is that Redford once again wanted to show the young upstarts what film-making is supposed to be, what it can be, and once again he has succeeded.
This movie deserves a better rating than the one it has received here. (by beabt1)
The acting by a stream of well known faces who were young I when I was also young are very good, and being a similar age as them I could relate to some of what they were experiencing in the story. I listened to a review on the radio criticising the movie because of the difficulty of enjoying watching people past their prime in a suspense movie. Maybe the reviewer should have stuck to the Bourne movies to get their kicks. Well age has nothing to do with it but maturity certainly does. The appealing theme here is that we don't leave our past so far behind us that it doesn't exert any <more>
major influence on us years later. In fact the more years that pass the more significant the past can become. I suggest you don't be put off by the negativity of what some others say and see the movie.
Provocative throwback to another era (by Emma_Stewart)
The Company You Keep has a startlingly star-studded cast and I was surprised to see that most of them were in small, thankless roles. People like Sam Elliott, Nick Nolte, Chris Cooper and Stanley Tucci have a couple, three scenes at most and aren't given much of anything to sink their teeth into. What I think this suggests is an immense respect for Robert Redford - there are very few directors who could assemble actors of that caliber for roles that probably anyone could play. And that respect is merited - with Company, Redford proves once again that he is an exceptionally talented <more>
director who deserves to be taken more seriously than he is. It begins with the abrupt arrest of Sharon Solarz Susan Sarandon , an American terrorist who had been living in hiding for decades since she was connected to a robbery that resulted in the murder of a security guard. Her arrest sparks renewed interest in the case and as a reporter Shia LaBeouf starts to dig deeper, a lawyer and newly single father Robert Redford realizes he is about to be uncovered and flees, leaving his daughter to stay with his younger brother Chris Cooper while he searches for an unknown something. The foundation of Company is a clever, taut screenplay reminiscent of classic 70's American thrillers. It shocks the audience with reveal after reveal, always bringing up more questions and arousing more suspicions, but does so without a hint of self-importance and gracefully avoids inflated tension. Redford's graceful direction brings the electric writing to life and creates a suitably foreboding atmosphere - it's gritty, but not too dark; fast-paced, but not so much that it sacrifices plot or character; emotional, but not saccharine. For such an outlandish plot, Redford makes it feel as real as it possibly could. Too many modern thrillers like this try to make every beat into a high emotion scene, or build around the twist so it's as dramatic as possibly. Company avoids that - there is a refreshing lack of forced grandeur, and in its wake we get a surprisingly intimate film filled with truly fascinating characters and provocative moral questions that the screenplay doesn't answer for us. The cast, as expected, are uniformly excellent. If there is a weak link it's Shia LeBeouf, whose real-life smug vanity suits the character but can only carry him so far when he's up against acting titans. He seems amateurish in his one-on-one scenes with Redford and Sarandon even though neither of them give especially domineering performances. Redford is an appropriately sympathetic lead but the supporting actors steal the movie - Susan Sarandon sets the bar very high right from the off. In her two or three short scenes, she reveals everything about her secretive, stony character; her microexpressions tell all. Cooper, Nick Nolte, Sam Elliott and Richard Jenkins light up their segments with their presences alone, while Brendan Gleeson delivers a hauntingly conflicted portrayal. Julie Christie, though, is the standout. If this has to be her last screen appearance, it's comforting to know that she went out with a loud bang, playing a character so unlike anything she's ever done before. Her Mimi is ferocious and spirited, but her steely conviction can't quite mask the naive little girl who never really grew up hiding underneath. She communicates a world of internal conflict with a simple raise of her eyebrows, a pang of regret merely by letting her mouth fall open; she's a master of her craft, fully realizing her character in maybe 15 minutes of screen time where most of her lines hit the same note. If there's one problem with the movie, it's that it's too short. A significant plot point towards the end isn't given the time and attention it deserves, considering its weight and implications. It felt like a wasted opportunity for an amazing, thematically fathoms-deep ending. However, the ending as it is is satisfying and well-done nonetheless, and cleanly wraps up an expertly crafted breath of fresh air for the genre. If only it had come out 35 years ago where it would have been right at home and probably would have garnered a better reception.
A Better Title: "The Price One Pays" (by FridayBridge)
I AM CONVINCED THE CONSERVATIVE PRESS MISSED THE ENTIRE POINT OF THE MOVIE.While I'm totally conservative, the talking heads that trashed this film blew it completely.This film does not glorify terrorism. Quite the opposite. It shows how a person can cross the line from being an "activist" to being a felon/terrorist. It is sort of a retrospective of an activist's two lives - one he abandoned once he crossed the line, the other, the stolen life he built afterward. There is a price one pays to the public through the court system. There is also a private price, or a personal <more>
price one also pays. In both cases,the focus is more on the private price he foisted off on loved ones to avoid paying his public price for his acts. The reader must understand that Sloan was guilty of some felony activities, but NOT the murder of the bank guard. His crimes, if caught, were worth some jail time, but not a life sentence for murder. People should watch this just so they could consider the idea that actions they might start can easily spin out of control, leaving them with consequences they might be forced to live with for the rest of their life, and MORE IMPORTANTLY, exact an even worse price upon all their loved ones.This is a VERY tightly packed movie, hardly a word that isn't important to the development of the plot. Watch it closely. This movie does need a bit more tension and rage at one particular point, but that's about the biggest flaw I saw.Just so you know, Redford, 76, is playing the role of a late 60 year-old, and there are very important reasons why he has a young daughter. Now, it is up to you to see this film and figure out why.By the way, this movie has a lot of great talent in it, and they each do very well for themselves and the presentation of the movie's theme. There are 14 class act performers, plus one. This would be a hard cast to play against, but "plus one" did a super job in her first movie role.