Review: ‘The Last Duel’ (2021), starring Matt Damon, Adam Driver, Jodie Comer and Ben Affleck

October 7, 2021

by Carla Hay

Adam Driver and Matt Damon in “The Last Duel” (Photo by Patrick Redmond/20th Century Studios)

“The Last Duel” (2021)

Directed by Ridley Scott

Culture Representation: Taking place in France from the years 1377 to the late 1380s, the dramatic film “The Last Duel” features an all-white cast of characters representing the working-class, middle-class and royalty.

Culture Clash: Two former friends, who fought battles together in the French military, face off in a violent duel after one of the men is accused of raping the other man’s wife.

Culture Audience: “The Last Duel” will appeal primarily to people who are interested in violent medieval-era dramas where some of the acting and dialogue are too modern be considered authentic, and sadistic machismo is put on the highest pedestal.

Jodie Comer in “The Last Duel” (Photo by Patrick Redmond/20th Century Studios)

When watching “The Last Duel,” it might be annoying or amusing to see Matt Damon in a mullet, as he fumbles attempts to be a medieval Frenchman, by having a modern British-American accent. Ultimately, the movie has nothing new or insightful to say about violent machismo. If you really need to see the same rape of a woman depicted twice in a movie, just for the sake of showing the rape from the perspectives of the rapist and the victim, then “The Last Duel” is your kind of movie.

Directed by Ridley Scott, “The Last Duel” is written by Damon, Ben Affleck and Nicole Holofcener. They adapted the movie’s screenplay from Eric Jager’s 2004 book of the same name. Scott, Damon, Affleck and Holofcener are among the producers of “The Last Duel” movie. All of them have considerable talent, but all of them have made much better movies than “The Last Duel.”

It’s worth noting that “The Last Duel” is the first movie screenplay that Damon and Affleck have written together since their Oscar-winning original screenplay for 1997’s “Good Will Hunting,” a better-quality film about masculine identity. (Damon and Affleck also co-starred in “Good Will Hunting.”) “The Last Duel” certainly has the top-notch production design and cinematography that viewers have come to expect when Scott does a period movie, but it’s no “Gladiator.” In addition, “The Last Duel” has too much subpar acting from Affleck and cringeworthy dialogue in several parts of the movie for “The Last Duel” to be an Oscar-caliber film.

People familiar with the medieval era already know it was a brutal and violent period in history, when women were treated as nothing more than property to be bought and sold for marriage, with husbands having the legal right to “own” their wives. All of that misogyny is accurately depicted in “The Last Duel.” The problem is that the movie has a tone of showing hatred and degradation of women with a little too much enthusiasm.

It’s as if the filmmakers felt that just by having the movie take place during this ancient era, it was enough of a reason to show this misogyny so gratuitously. Any attempt to show any female character with some kind of inner strength is rushed in the last third of the film. This half-hearted nod to female empowerment doesn’t come across as genuine but rather it seems manipulative. It’s the equivalent of filmmakers putting a little dab of cleaner on the avalanche of dirty, sexist muck that’s poured all over the film.

Based on true events, “The Last Duel” takes place in France (mostly in Paris) from 1377 to the late 1380s. But if you were to believe this movie, women couldn’t possibly be as smart or as powerful as men. It completely refuses to acknowledge that women had positions of power and minds of their own in France during the medieval era—most notably Eleanor of Aquitaine, who was a leader more than 200 years before this story takes place. “The Last Duel” is so insistent on shutting out any depictions of intelligent women in power (even if it’s power in their own households) that when Queen Isabeau (played by Serena Kennedy) appears in the movie, she doesn’t have any lines of dialogue and is just there as a spectator sitting next to her king husband (who does talk) during the jousting match that is the movie’s namesake.

“The Last Duel,” is told in three chapters, each from the perspective of the three people involved in a rape case that is the reason for this jousting duel:

  • Jean de Carrouges (played by Damon) is a domineering, middle-aged knight, who has fought many battles in the Crusades. He has the scars on his face and the rest of his body to prove it. Jean’s first wife and son died during the bubonic plague known as the Black Death. His second marriage is to a woman who is the story’s rape victim.
  • Jacques Le Gris (played by Adam Driver), a roguish playboy who’s about 10 years younger than Jean, has risen through the military ranks to become a captain. Jacques is a never-married bachelor who has never had a committed love relationship.
  • Marguerite de Carrouges (played by Jodie Comer), Jean’s second wife, is about 20 years younger than Jean. She comes from a well-to-do family that has fallen on hard times because her scandal-plagued father has been branded as a traitor. Marguerite accuses Jacques of raping her.

Each of the movie’s chapters is titled “Part One: The Truth According to Jean de Carrouges,” “Part Two: The Truth According to Jacque Le Gris” and “Part Three: The Truth According to Marguerite de Carrouges.” Unlike Showtime’s 2014-2019 drama series “The Affair,” “The Last Duel” doesn’t have wildly different memories of the same incidents from the three people involved in a love triangle. The memories and perspectives do have some differences, but they add up to a generally consistent overview of what life was like for the three people who are at the center of the rape case.

Someone who can influence the outcome of the rape case is the hard-partying Pierre d’Alençon (played by Affleck), who is the presiding judge and a close ally of Jacques. Pierre is also the much-older cousin of King Charles IV (played by Alex Lawther), who is portrayed as a brat in his 20s who doesn’t have the maturity to be an effective leader, but he’s tolerated by people around him because he inherited the title of king.

One of the biggest problems with “The Last Duel” is that it’s filled with modern lines of dialogue that sound like they’re straight out of a foul-mouthed movie written by Quentin Tarantino. Certain people, especially Pierre, like to say the words “fuck” or “fucking” a lot. That doesn’t mean that cursing didn’t exist in the medieval era, but the way the words are used in a contemporary-sounding dialogue context is just not accurate for those times.

And it doesn’t help that Affleck and Damon (who are both American) struggle with their fake European accents. Damon has entire scenes where he sounds American and British every time he talks. Driver (who is American) does a much better job at having a European-sounding accent, while Comer doesn’t have to pretend at all, since she’s British in real life.

For a movie that’s supposed to take place in France, it’s kind of pathetic that there are very few French people in “The Last Duel” cast, and none of these French actors has a large role in the film. (“The Last Duel” was actually filmed in Ireland.) This lack of significant French representation in the movie’s cast is an indication that “The Last Duel” director Scott (who is British) has an ethnic bias when it comes to who he wants in his movies. It’s also obvious that he didn’t care about having accurate language consistency for “The Last Duel” characters, since the stars of the movie sound British and American instead of French.

And in case anyone mistakenly thinks “The Last Duel” is a prestigious, Oscar-caliber film, think again. The movie goes into borderline softcore porn territory. Under Scott’s direction, “The Last Duel” seems enamored with showing in more than one tacky scene that Pierre and Jacques regularly participated in orgies together with willing women. One of the orgy scenes has a very “male gaze” to it, because it lingers on three women on a bed having sex with each other, while they wait for Pierre to join them. It’s such a predictable stereotype in these types of movie orgy scenes that same-sex hookups always comes from the women, not from the men.

Pierre is married with eight children, but he seems to think his family life just gets in the way of his sex parties. He even started to have an orgy in front of his pregnant wife Lady Marie Chamaillart (played by Zoé Bruneau), who seems to know what’s about to happen and quickly leaves the room. After having this orgy, Jacques asks Pierre if he wants to spend time with his wife. Pierre scoffs at the idea and says that Marie is “pregnant and hysterical. I’d rather take my chances with the wolves.”

This 152-minute movie plods along in showing Jean’s transactional marriage to Marguerite, whom he hopes will bear him a son so that he can have a male heir again. Jean drove a hard bargain for Marguerite’s dowry, by convincing Marguerite’s disgraced and financially desperate father Sir Robert de Thibouville (played by Nathaniel Parker) to give him a coveted strip of land as part of the deal. Sir Robert reluctantly agrees.

Jean is very patriotic and proud to serve in the military. Jacques becomes a close companion of his during their military battles, and Jean even saves Jacques’ life on one occasion. When Jean is not away from home for war duties, his occupation is being a landlord, but the Black Death caused many of his tenants to die, so he’s been struggling financially and is heavily in debt. Pierre later takes advantage of Jean’s financial woes when Pierre decides that Jean has become his enemy.

Marguerite handles the landlord transactions when Jean is away from home, and she finds out that he’s been an irresponsible business manager by not bothering to collect rent when he was supposed to do it. However, Marguerite is in the type of marriage where she can’t really speak up and point out these mistakes to Jean because his huge ego would just dismiss her concerns. She is constantly reminded by people in society that she should not speak up about problems that would be considered “embarrassing” or “disobedient” to her husband or other men.

Jacques and Marguerite meet at an outdoor party, where Jean introduces his new wife to his friend and tells Marguerite to give a friendly kiss to Jacques. Marguerite ends up kissing Jacques on the lips, and he looks at her in a way that shows it’s attraction at first sight, with that kiss causing some kind of spark in him. Marguerite admits to some of her female friends at the party that she thinks Jacques is handsome, but she doesn’t trust him because of his “bad boy” reputation.

Marguerite is well-read, while Jean is illiterate. In more than one scene in the film, Jacques and some other people express surprise that Jean allows Marguerite to read books. Jacques uses this information to his advantage when, shortly after he meets Marguerite, he flirts with her and tries to impress her with his knowledge of literature.

Later, it becomes clear that Jacques’ lust for Marguerite has turned into obsession, although he claims several times that he’s deeply in love with Marguerite and it’s the first time that he’s ever felt this way. It doesn’t justify him raping her. The movie leaves no ambiguity that this rape did occur.

Up until the rape (which is depicted in a disturbing way that might be too upsetting for sensitive viewers), “The Last Duel” becomes a soap opera filled with clichés that you might find in a cheap and tawdry romance novel. There’s the pretty housewife who’s lonely and bored because her husband is away from home a lot. And when he’s at home, their sex life is passionless and he doesn’t seem to care about what her needs are.

There’s the workaholic husband who’s so preoccupied with his work and self-image that he doesn’t see how unhappy his wife is. He thinks that all he needs to be a good husband is to be a good provider. He’s also annoyed with his wife because she hasn’t gotten pregnant as quickly as he wanted. After five years of marriage, she still hasn’t conceived a child.

There’s the tall, dark “bad boy” who’s just waiting for the right moment to “seduce” the lonely wife. The fact that the husband used to be the bad boy’s best friend makes the bad boy’s lust for the wife even more taboo. Driver is perfectly adequate in this villain role, but he’s limited by this two-dimensional character, and therefore it’s not an outstanding performance.

Also part of this parade of soap opera clichés is the bad boy’s “wingman”/sidekick, who gleefully helps with the scheming because he wants to cause some chaos too. In “The Last Duel,” the “wingman” character is named Adam Louvel (played by Adam Nagaitis), and he plays a pivotal role in Jacques’ planning of the rape. Just like Jacques, he’s a shallow character with no backstory.

The extra strip of land that Jean was promised as part of Marguerite’s dowry becomes the subject of a legal dispute when Jacques, in an effort to impress Pierre, seizes the land and hands it over to Pierre. It results in a messy lawsuit, with Jean suing Pierre and Jacques. Pierre grows increasingly alienated from and irritated with Jean because of this legal dispute. Meanwhile, Jacques tries to put the lawsuit behind him and makes the first move to repair his broken friendship with Jean.

However, any attempts for Jean and Jacques to become friends again get obliterated when the rape happens. “The Last Duel” gives harsh but realistic depictions of the victim blaming and victim shaming that rape survivors experience when they come forward and try to get justice for this crime. Complicating matters, Jacques admits that he had a sexual encounter with Marguerite, but he says it was consensual. He vehemently denies that it was rape. For many people who hear about Marguerite’s accusation, it’s a “he said/she said” situation.

The movie shows in chilling details how victim blaming/shaming reactions to a rape story are universal and timeless and don’t just come from men. Jean’s mother Nicole de Carrouges (played by Harriet Walter) believes Marguerite, but she scolds Marguerite for not keeping quiet about the rape. Meanwhile, Marguerite’s best friend Marie (played by Tallulah Haddon) doubts Marguerite’s accusation, because Marie thinks Marguerite was attracted to Jacques and that Marguerite might have done something to make Jacques think she was willing to have sex with him.

In her depiction of Marguerite, Comer gives an admirable performance of a woman who often has to suppress her emotions, out of fear of being labeled as a “hysterical” wife who might embarrass her husband. Through tearful eyes that still show steely determination, she achieves a balance of being emotionally vulnerable but mentally strong. Marguerite is going to need that inner strength when she gets an onslaught of criticism from many people because she went public with this accusation.

Marguerite tells Jean about the rape before they decide to go public with this accusation. Jean’s initial reaction isn’t to comfort Marguerite but to get angry that Jacques has betrayed him again. Jean eventually takes Marguerite’s side, but he’s motivated more by defending his own honor and reputation than defending Marguerite’s. Because it’s not spoiler information that “The Last Duel” is about Jean and Jacques’ jousting showdown about the rape, the movie just becomes scene after scene that builds up to this battle. Marguerite’s feelings and trauma get pushed to the side, while the movie ultimately gives more importance to the feuding between Jean and Jacques.

Although the movie shows Marguerite’s considerable bravery, it’s Jean who’s supposed to be the “hero” of the story for defending his wife. We know this because the viewer catharsis in the movie is supposed to come mainly from the jousting battle, which centers “The Last Duel” back on the men. The movie ends with scenes showing Marguerite, but make no mistake: “The Last Duel” is very much a movie about egotistical men and the violence they commit to get what they want.

20th Century Studios will release “The Last Duel” in U.S. cinemas on October 15, 2021.

Review: ‘Stillwater’ (2021), starring Matt Damon

July 26, 2021

by Carla Hay

Matt Damon and Camille Cottin in “Stillwater” (Photo by Jessica Forde/Focus Features)

“Stillwater” (2021)

Directed by Tom McCarthy

Some language in French with subtitles

Culture Representation: Taking place in Marseille, France, and briefly in Stillwater, Oklahoma, the dramatic film “Stillwater” features a predominantly white cast of characters (with some black people and Middle Eastern people) representing the working-class and middle-class.

Culture Clash: A middle-aged oil rig/construction worker from Stillwater, Oklahoma, goes to Marseille, France, where he tries to prove that his mid-20s daughter has been wrongly imprisoned for murder.

Culture Audience: “Stillwater” will appeal primarily to people who are interested in suspenseful and emotionally layered murder mysteries, even if some aspects of this crime investigation are far-fetched.

Abigail Breslin and Matt Damon in “Stillwater” (Photo by Jessica Forde/Focus Features)

“Stillwater” is a crime drama that’s somewhat flawed in how a murder mystery is investigated in the movie, but the principal cast members bring emotional authenticity that resonates in an impactful way throughout the story. It’s a movie about a man with a checkered past who’s seeking redemption not only for his imprisoned daughter but also redemption for himself for being an absentee father for most of her life. And on another level, it’s a classic “fish out of water” story about an American trying to navigate the legal system and culture in France when he knows next to nothing about either.

“Stillwater” writer/director Tom McCarthy won a best original screenplay Oscar for 2015’s “Spotlight,” about the Boston Globe’s real-life investigation into sexual abuse by Catholic priests and the Catholic Church knowingly covering up these crimes. The crime investigation in “Stillwater” is much more personal and much more underground because it doesn’t always follow legal protocol, and is therefore much more dangerous. However, “Stillwater” (which McCarthy wrote with Thomas Bidegain, Marcus Hinchey and Noé Debré) is nowhere as authentic as “Spotlight,” when it comes to depicting a crime investigation.

In “Stillwater,” Bill Baker (played by Matt Damon) is a longtime oil rigger (also known as a roughneck) who has been experiencing some hard times in his hometown of Stillwater, Oklahoma. Six months ago, he was laid off from his job. He’s been able to find temporary construction jobs here and there, but his lack of steady employment has caused him a lot of financial strain. Bill has been an oil rig worker, ever since he dropped out of high school to work with his father, who was also a roughneck.

Bill’s personal life is also a mess. He’s been a widower ever since his wife committed suicide a little more than 20 years ago, when their daughter Allison (played by Abigail Breslin) was 4 years old. After this tragedy, Allison was raised by her maternal grandmother Sharon (played by Deanna Dunagan), who has a cordial relationship with Bill. It’s in contrast to the estranged relationship that Bill has with his own mother, whom he hasn’t been in contact with for years. Bill only hears about how his mother is doing when Sharon tells him.

The movie never explains why Bill and his mother are estranged, but later on in the story, Bill reveals that he’s in recovery from alcohol and drug addiction. Now that Bill has more free time on his hands than when he was working full-time, he’s decided that he’s going to Marseille, France, for two weeks to try to solve the biggest problem he’s ever encountered: getting Allison exonerated for murder and released from prison.

Allison, who’s about 24 or 25, is in a Marseille prison and has served five years of a nine-year prison sentence for murdering her live-in lover Lena Momdi, who attended Marseille University with Allison. Going to the same university is how the former couple met. Lena is not shown in flashbacks, and whatever information about her in the movie comes mostly from Allison, who has vigorously maintained her innocence in Lena’s murder.

Why did Allison want to enroll in a university in France? It’s revealed later in the movie that she was very unhappy in Stillwater and wanted to live somewhere far away from her hometown. Lena, who was of Arabic heritage, had a very different background than Allison’s: Lena came from a stable, upper-middle-class family.

Allison’s and Lena’s personalities were different too. Allison is a creative type who likes to draw. She’s introverted and doesn’t make friends easily. Lena was more sociable and extroverted. It’s hinted throughout the movie that Lena was Allison’s first serious romance and the first relationship where Allison could live openly as a lesbian or queer woman.

The story comes out in bits and pieces in the movie, but these are the indisputable facts: In 2014, Lena was stabbed to death in the apartment that she shared with Allison, who doesn’t have an alibi during the time that investigators say that Lena was murdered. Allison claims that she came home to find Lena murdered. At the time, Lena and Allison were having problems in their relationship because Lena was cheating on Allison.

Allison says she doesn’t know who murdered Lena, but she has a theory that it was probably a guy in his 20s named Akim (played by Idir Azougli), whom Lena had recently met in a bar. Allison says she briefly met Akim too, but Allison doesn’t know anything about him except his first name, and she has a vague memory of what he looks like. Allison has told her father Bill that she found out that a female acquaintance had overheard Akim bragging about stabbing Lena.

That’s not enough to prove Allison’s innocence, but there was untested DNA at the crime scene. Allison thinks that the DNA is the DNA of the murderer and could be Akim’s, if Allison’s theory is correct. Bill then takes it upon himself to try get Allison’s case re-opened by finding the evidence that could exonerate her.

If this murder mystery sounds a lot like the real-life Amanda Knox case, that’s because “Stillwater” was partially inspired by Knox’s case, according to the “Stillwater” production notes. Knox was an American student attending a university in Perugia, Italy, in 2007, when she, her then-boyfriend Raffaele Sollecito and their acquaintance Rudy Guede were convicted of sexually assaulting and stabbing to death Knox’s British female roommate Meredith Kercher, who attended a different university in the same city. However, only Guede was directly tied to the crime through physical evidence (his bloody fingerprints), and Knox never wavered from proclaiming her innocence. The case was notorious for its twists and turns and worldwide media exposure.

Allison’s murder case in “Stillwater” also made a lot headlines, but the filmmakers wisely chose not to have flashbacks in this movie. That’s because the main characters in the story want to forget painful memories from their past. By the time that Bill visits Allison in prison, the media frenzy over Allison’s case has died down. And it seems that almost everyone involved, except Allison and her few family members, have given up hope that she will be exonerated and set free from prison.

While Bill is staying at a low-priced hotel, he notices the two people who are in the room next to his. He doesn’t find out who they are until a little later, but these hotel neighbors are theater actress Virginie (played by Camille Cottin) and her 8-year-old daughter Maya (played by Lilou Siauvaud), who is a bright and energetic child. Bill doesn’t know it yet, but all three of them will become part of each other’s lives in ways that they don’t expect.

The first time that Bill talks to Virginie, it’s because she’s partying on her room balcony with a friend. They’re laughing, drinking, and playing music loudly, so Bill asks them to keep the noise down. Virginie says that she only speaks French, and she has a dismissive tone toward Bill. A disgruntled Bill decides not to cause an argument and just shuts his room’s sliding glass door.

The next day, Bill sees that Maya has been locked out of the room and she doesn’t have a room key. Because he wants to make sure that Maya is safe, he takes her to the hotel lobby so that the front desk can give Maya a spare key. Virginie eventually shows up and she thanks Bill for his act of kindness. Bill notices that Virginie can speak perfect English. And when he points it out to her, Virginie looks embarrassed and makes a sheepish apology.

Virginie explains that the reason why Maya was accidentally locked out of the hotel room was because Virginie (who’s a single mother) was running late from an appointment for their new apartment. Virginie and Maya are staying at the hotel until they can move into their new home. Later, Virginie reveals to Bill that Maya’s father is alive but not in their lives, and that Virginie has been the only parent to raise Maya. Virginia describes Maya’s father as a “fling” who now lives in Crete.

Meanwhile, Allison doesn’t trust the prison mail system and knows all meetings and phone conversations in prison are recorded. And so, Allison has given Bill an important letter written in French that she wants him to hand-deliver to her defense attorney named Leparq (played by Anne Le Ny), to try to get the case re-opened. After encountering some obstacles, Bill gets an in-person meeting with Leparq, who reads the letter and says that there’s nothing more she can do because the case cannot be appealed without significant evidence.

A frustrated and angry Bill goes back to the hotel, where he asks Virginie to translate the letter for him. In the letter, Allison describes Akim as a likely person of interest who could be a match for the untested DNA that was at the crime scene. Allison also says in her letter that she doesn’t trust her father to help, even though he is her only family member who can be in France. (Allison’s grandmother Sharon, who wears an oxygen tube, has health issues and can’t travel overseas.)

As soon as Bill knows what the letter says, it’s at this point where viewers know he’s going to want to get back in Allison’s good graces. He meets with a local private investigator named Dirosa (played by Moussa Maaskri), but Bill can’t afford the investigator’s starting fee of €12,000. And so, that means Bill is going to do the investigating himself.

The first step is to find the witness who claims that she heard Akim confess to the murder. This witness can only speak French. Luckily, Viriginie is very sympathetic to Bill’s plight, and she readily agrees to be his translator. Things don’t go smoothly, of course, and Bill finds himself increasingly obsessed with finding Akim. Bill also gets personally involved with Virginie.

Although “Stillwater” does a very good job of unpeeling the layers of the story’s three complicated adults—Bill, Allison and Virginie—where the movie falters is in the almost absurd acts of vigilantism that Bill commits in the movie. His two immediate main goals are to find Akim and get Akim’s DNA. But since Bill doesn’t know Akim’s last name, and Allison can only give a vague description, there’s a time-consuming process of finding out if Akim really exists.

Akim really does exist. Bill finds him and stalks him. And there’s a scene in the movie where Bill has the perfect opportunity to get Akim’s DNA by taking a plastic straw and cup that Akim was drinking from and then discarded at an outdoor cafe. However, Bill doesn’t take the cup and straw as DNA evidence. Something else happens that takes this movie down a very dark path. Viewers will have to assume that Bill is so ignorant about the law that he doesn’t know that how evidence is gathered can affect whether or not the evidence is admissible in court.

“Stillwater” has many references to the cultural and social class differences of an American like Bill being in France. Bill has to correct people who incorrectly assume that because he’s American who has the ability to travel to France, he must be rich. In another scene, Virginie agrees to help Bill after she suspiciously asks him, “Did you vote for [Donald] Trump?”

Bill doesn’t say what his political leanings are and instead says he can’t vote in U.S. elections because he’s a convicted felon, although he doesn’t say why he was in prison and when. Virginie makes it clear that Bill’s prison record wouldn’t bother her as much as it would bother her if he voted for Trump. She hangs out with a lot of progressive hipster types in her theater group.

In another scene, Virginie and Bill have an argument when she helps him interview a local cafe owner who might have seen Akim. The cafe owner named Max (played by Pierre Piacentino) is very racist against Arabs and tells Virginie in French that he’s willing to accuse anyone Arab to help with the case. Virginie abruptly ends the interview in disgust and tells Bill why, but Bill is willing to overlook this racism because he thinks the cafe owner might still have valuable information.

Bill tells Virginie that he works with a lot of people who have these racists thoughts, but he believes you can still work with these people if they’re on your side. It’s the first of many clues that Bill is willing to do whatever it takes to free Allison from prison, even if it could mean getting a racist witness who will lie in order to wrongfully accuse someone. Virginie makes it clear that she has certain ethics that are non-negotiable. It won’t be the last time that Bill’s and Virginie’s two different moral codes will clash with each other.

An issue that “Stillwater” doesn’t adequately address is that Allison got only a nine-year prison sentence for murder. That’s an incredibly lenient sentence, considering that it was a brutal stabbing that appears to have been pre-meditated. It’s implied throughout the story that Allison was convicted of first-degree murder. It’s never discussed in the movie (although it should have been discussed) that Allison, who’s young enough to potentially have several decades of life ahead of her, was lucky to get such a light prison sentence for this serious crime.

No one says the words “white privilege” in this movie, but a lot of viewers who know that racial inequalities exist in criminal justice systems will immediately think about how a person of color in the same circumstances as Allison probably would’ve gotten a punishment that’s a lot worse and longer than a nine-year prison sentence. Likewise, Bill takes for granted and feels emboldened that as a white man traveling by himself, he can feel entitled to go in certain neighborhoods as a stranger and do whatever vigilante things that he does. It’s because he consciously or subconsciously knows that people are less likely to call the police on someone who looks like him when he acts aggressively or does suspicious things.

Allison already served five years of that nine-year prison sentence, so it raises more questions that the movie doesn’t answer about how Bill and Allison went about solving her legal problems. The legal process to get someone exonerated could take a lot more than four years. And it means that Allison could be released from prison in a shorter period of time than it could take for her to be exonerated.

That probability is never discussed in the movie, because “Stillwater” is all about Bill trying to get things done in an unrealistic “only in a movie” period of time. And yes, Bill and Allison want to clear Allison’s name. But at what cost, when Bill starts breaking the law like a vigilante?

It’s why “Stillwater,” even though it benefits from stirring performances by the principal cast members, it still feels like a Hollywood version of how to free a prisoner who claims to be wrongly convicted. Usually, in melodramatic movies like “Stillwater,” someone is portrayed as a one-person juggernaut doing almost all the detective work. In reality, it takes several people and many years of investigations and court procedures to get a convicted prisoner exonerated.

In the production notes for “Stillwater,” McCarthy comments on some of the main inspirations for him to make the movie: “I was inspired by a number of Mediterranean Noir writers like Andrea Camilleri, Massimo Carlotto and Jean-Claude Izzo, whose brilliant Marseille Trilogy led me to the French city. One visit to Marseille and I knew that I found my port.”

And just like those novels, “Stillwater” is a fictional version of life. The movie is entertaining, suspenseful and a “be careful what you wish for” cautionary tale. However, “Stillwater” shouldn’t be used as an ideal example of a dramatic film that realistically portrays how to try to get someone out of prison.

Focus Features will release “Stillwater” in U.S. cinemas on July 30, 2021.

2019 Hollywood Film Awards: recap and photos

November 3, 2019

Al Pacino (left), winner of the Hollywood Supporting Actor Award, and “The Godfather” director Francis Ford Coppola at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Amy Sussman/Getty Images)

The following is a press release from Dick Clark Productions:

The 23rd Annual “Hollywood Film Awards” brought together Hollywood’s elite to honor the year’s most talked about and highly anticipated actors, actresses and films, and those who helped bring them to life. The awards ceremony, celebrating its 23rd anniversary as the official launch of the awards season, was hosted by actor and comedian Rob Riggle, and took place at The Beverly Hilton in Beverly Hills. In its 23-year history, over 340 of the world’s biggest stars and filmmakers have been highlighted at the “Hollywood Film Awards” and more than 140 of the honorees have gone on to garner Oscar nominations and/or wins.

Rob Riggle  at the 23rd Annual Hollywood Film Awards at the 23rd Annual Hollywood Film Awards at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Kevin Winter/Getty Images for HFA)

Host Rob Riggle infused the ceremony with heart and humor, proving to be a steadfast guide through the evening’s many memorable moments. There was no shortage of standing ovations for both presenters and honorees alike, who included some of the most iconic members of the Hollywood community. Al Pacino took time to acknowledge many of his fellow honorees and friends in the room as he accepted the “Hollywood Supporting Actor Award.”

Martin Scorsese at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Emma McIntyre/Getty Images for HFA)

After a presentation from her mentor Martin Scorsese, “Hollywood Producer Award” recipient Emma Tillinger Koskoff delivered an emotional speech, offering a tear-filled thank you to the legendary director and producer. “Hollywood Filmmaker Award” honoree Bong Joon Ho, spoke in his native tongue to deliver a universal message that “we use only one language of cinema.”

Nicole Kidman and Charlize Theron at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Kevin Winter/Getty Images for HFA)

In a touching moment between “Hollywood Career Achievement Award” presenter Nicole Kidman and this year’s honoree Charlize Theron, Kidman remarked that “we don’t get to choose our heroes, but through this journey, I got to work with one of mine!”

Antonio Banderas and Dakota Johnson at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Amy Sussman/Getty Images)

Dakota Johnson took the stage to present Antonio Banderas with the “Hollywood Actor Award,” and reflected upon her realization that Banderas has become one of the most influential people in her life. He accepted by dedicating the award to Dakota, and his daughter Stella, who was in the room to share the night with him.

Cynthia Erivo at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Emma McIntyre/Getty Images for HFA)

Viola Davis presented Cynthia Erivo with the “Hollywood Breakout Actress Award,” calling her “fearlessness personified” as she takes on the role of Harriet Tubman. Ray Romano brought the laughs as he showered praise upon “Hollywood Breakout Actor” honoree Taron Egerton, pointing out how unfair it is that Egerton is not only endlessly talented, but funny as well.

Robert Downey Jr. and Shia LaBeouf at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019 . (Photo by Frazer Harrison/Getty Images for HFA)

Christian Bale and Matt Damon turned up to honor their “Ford v Ferrari” director James Mangold, while Robert Downey Jr. was on hand to laud “Honey Boy” actor and screenwriter Shia LeBeouf with the “Hollywood Breakthrough Screenwriter Award.”  Former co-stars Jennifer Garner and Olivia Wilde celebrated Wilde’s “Hollywood Breakthrough Director Award,” each sharing humorous tales of their adventures together on set.

Olivia Wilde at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Emma McIntyre/Getty Images for HFA)

Kevin Feige and Victoria Alonso joined together to accept the “Hollywood Blockbuster Award,” thanking their amazing writers, directors, and awe-inspiring cast, including presenter Mark Ruffalo. Alicia Keys began her tribute to “Hollywood Song Award” honoree Pharrell Williams by recognizing all of the love in the room, before Williams delivered a powerful speech focusing on the unparalleled contributions made by “The Black Godfather” subject, Clarence Avant. He said that he has opened doors when others would glue them shut and has consistently demanded equality throughout his career.

Finn Wittrock, Renée Zellweger and Jessie Buckley at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Amy Sussman/Getty Images)

“Judy” co-stars Finn Wittrock and Jessie Buckley were on hand to recognize their leading lady Renée Zellweger with the “Hollywood Actress Award.” She said that the experience of playing Judy Garland was “one of those rare opportunities that essentially make no sense at all, but becomes your greatest accomplishment!”

Laura Dern and Willem Dafoe at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Frazer Harrison/Getty Images for HFA)

After an earnest tribute from Jon Hamm, “Hollywood Screenwriter Award” honoree Anthony McCarten joked about finding success when he strayed from his teacher’s advice to write what he knows. He advised others to write what they want to know, that curiosity is what drove him to this project. Willem Dafoe presented his friend and colleague Laura Dern with the “Hollywood Supporting Actress Award,” praising the inspiring way in which she connects to audiences through her compassion.

This year’s award show honored the following:

“Hollywood Career Achievement Award”
Charlize Theron, presented by Nicole Kidman

“Hollywood Actor Award”
Antonio Banderas for Pain and Glory, presented by Dakota Johnson

“Hollywood Actress Award”
Renée Zellweger for Judy, presented by Finn Wittrock & Jessie Buckley

“Hollywood Supporting Actor Award”
Al Pacino for The Irishman, presented by Francis Ford Coppola

“Hollywood Supporting Actress Award”
Laura Dern for Marriage Story, presented by Willem Dafoe

“Hollywood Producer Award”
Emma Tillinger Koskoff for The Irishman, presented by Martin Scorsese

“Hollywood Director Award”
James Mangold for Ford v Ferrari, presented by Christian Bale & Matt Damon

“Hollywood Filmmaker Award”
Bong Joon Ho for Parasite, presented by Sienna Miller

“Hollywood Screenwriter Award”
Anthony McCarten for The Two Popes, presented by Jon Hamm

“Hollywood Blockbuster Award”
Avengers: Endgame, presented by Mark Ruffalo

“Hollywood Song Award”
Pharrell Williams for Letter To My Godfather, presented by Alicia Keys

“Hollywood Breakout Actor Award”
Taron Egerton for Rocketman, presented by Ray Romano

“Hollywood Breakout Actress Award”
Cynthia Erivo for Harriet, presented by Viola Davis

“Hollywood Breakthrough Director Award”
Olivia Wilde for Booksmart, presented by Jennifer Garner

“Hollywood Breakthrough Screenwriter Award”
Shia LaBeouf for Honey Boy, presented by Robert Downey Jr.

“Hollywood Animation Award”
Toy Story 4

“Hollywood Cinematography Award”
Mihai Malaimare Jr. for Jojo Rabbit

“Hollywood Film Composer Award”
Randy Newman for Marriage Story

“Hollywood Editor Award”
Michael McCusker & Andrew Buckland for Ford v Ferrari

“Hollywood Visual Effects Award”
Pablo Helman for The Irishman

“Hollywood Sound Award”
Donald Sylvester, Paul Massey, David Giammarco, & Steven A. Morrow for Ford v Ferrari

“Hollywood Costume Design Award”
Anna Mary Scott Robbins for Downton Abbey

“Hollywood Make-Up & Hair Styling Award”
Lizzie Yianni-Georgiou, Tapio Salmi, & Barrie Gower for Rocketman

“Hollywood Production Design Award”
Ra Vincent for Jojo Rabbit

Honoree Portraits are available on the show’s Twitter and Instagram pages. For all information and highlights, please visit the website for the Hollywood Film Awards.

For the latest news, follow the “Hollywood Film Awards” on social and join the conversation by using the official hashtag for the show, #HollywoodAwards.

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About Dick Clark Productions
Dick Clark Productions (DCP) is the world’s largest producer and proprietor of televised live event entertainment programming with the “Academy of Country Music Awards,” “American Music Awards,” “Billboard Music Awards,” “Golden Globe Awards,” “Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest” and the “Streamy Awards.” Weekly television programming includes “So You Think You Can Dance” from 19 Entertainment and DCP. DCP also owns one of the world’s most unique and extensive entertainment archive libraries with over 60 years of award-winning shows, historic programs, specials, performances and legendary programming. DCP is a division of Valence Media, a diversified and integrated media company with divisions and strategic investments in television, film, live entertainment, digital media and publishing. For additional information, visit www.dickclark.com.

About the Hollywood Film Awards
The Hollywood Film Awards, founded in 1997, were created to celebrate Hollywood and launch the awards season. The recipients of the awards are selected by an Advisory Team for their body of work and/or a film(s) that is to be released during the calendar year. For additional information, visit www.hollywoodawards.com.

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