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Movie Review

The Old Man and the Gun sends Robert Redford off in style

Alex Bentley
Oct 5, 2018 | 2:15 pm
The Old Man and the Gun sends Robert Redford off in style
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One of Robert Redford’s first big roles was as an escaped convict in 1966’s The Chase, which also starred Marlon Brando and Jane Fonda. It’s only appropriate, then, that in his final film as an actor, The Old Man and the Gun, he is also playing someone who’s constantly on the run from the law.

Redford plays Forrest Tucker, a real life criminal, who spent the majority of his life going in and out of prison. When we meet him, it’s the early 1980s and he’s robbing banks all over Texas, including Dallas. Only, given his age and easygoing demeanor, his style differs from the smash-and-grab antics of other robbers. In fact, most victims describe him as gentlemanly, the last person you’d expect to be robbing you.

That low-key personality endears him to Jewel (Sissy Spacek), a woman he stops to help as a way of escaping another robbery. The two begin an uneasy-yet-strong relationship, even while Tucker continues to rob banks unbeknownst to Jewel. On the hunt for Tucker is Dallas police detective John Hunt (Casey Affleck), one of the few people who is able to see beyond Tucker’s friendly façade.

Writer/director David Lowery, who seems to go back and forth between straightforward and inscrutable films, presents a real dilemma for Tucker. Robbing banks is almost literally all he’s ever known, but when faced with the possibility of a real relationship, his love of risk and adventure is put to the test.

Befitting Tucker’s style, the various robberies in the film hold no real intrigue or excitement. But they’re still fascinating in showing that how a person behaves can influence other people to do things that they normally wouldn’t do. Few other actors could play Tucker with the same charm, guile, and vulnerability that Redford does.

What really makes the movie sing is the chemistry between Redford and Spacek. The two veteran actors know how to make the most out of even the smallest moments, and every second they spend together is one to be cherished. Their relationship is a case study in how to establish a rock-solid emotional connection, both between their characters and between the film and the audience.

Even if you didn’t know that The Old Man and the Gun will, according to the man himself, be Redford’s final time appearing on the big screen, the film is full of touches that seem to be offering a gentle valedictory to the legendary actor.

In addition to the book-end allusion to The Chase with Redford’s character, Lowery inserts an actual scene from that film to drive the point home. There also are subtle references to Butch Cassidy and the Sundance Kid and The Sting, two of Redford’s most famous films in which he also played men with a charming way of breaking the law.

If this is to be Redford’s last acting role, you couldn’t ask for a better send-off. He’s made a career out of being someone who could appeal to people of all ages and genders, and he goes out the way he came in with The Old Man and the Gun.

Robert Redford in The Old Man and the Gun.

Robert Redford in The Old Man and the Gun
Photo by Eric Zachanowich
Robert Redford in The Old Man and the Gun.
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news/entertainment

Movie Review

Korean monster movie Hope delivers thrills despite its lengthy runtime

Alex Bentley
Sep 9, 2026 | 12:30 pm
Hwang Jung-Min and Hoyeon in Hope
Photo courtesy of Neon
Hwang Jung-Min and Hoyeon in Hope.

Monster movies can take on all sorts of different flavors, from all-out mayhem to quieter ones where the monster can sometimes be the protagonist. The new South Korean film Hope splits the difference to a degree, delivering action-packed sequences while also attempting to understand the non-humans in a way.

The story starts in medias res, with an unseen creature having already done great damage to a huge bull and laying waste to much of a small Korean town. The local sheriff, Beom Seok (Hwang Jung-Min), tries to take control of the situation in the town, while a group of hunters led by Sung Ki (Zo In-Sung) travel into the nearby woods to see what they can find there.

Thus starts a nearly nonstop, 160-minute epic of each side trying (and mostly failing) to defend themselves against gigantic creatures who seem hellbent on destroying everything in their path. It’s not until 40 minutes into the film that the audience is shown one of the monsters in detail, and the less said the better about what it actually looks like, as the mystery behind it keeps the intrigue going.

That initial section of the film is the best, as Beom Seok — eventually joined by deputy Sung Ae (Hoyeon) — goes on a frantic hunt around the town, always just far enough behind the monster to keep from seeing it. The utter destruction he witnesses and his interactions with various locals are intense and oddly funny, with the hectic conversations he has laced with fear and incredulity over how different people choose to act.

Writer-director Na Hong-jin bounces back and forth between the people in the town and the group in the forest, doing his best to maintain the momentum of the first section. This approach works for a while as each group makes their own discoveries about the creatures and has run-ins with them that more often than not are ill-fated. Using a mixture of relatively good CGI, great production design, and an abundance of gore, the filmmaker shows he knows how to make an effective blockbuster-style film.

The trouble is, he doesn’t know when to stop. Somewhere around the two-hour mark of the movie, the story starts to become repetitive and Hong-jin introduces elements that don’t mesh well with what has come before. For some reason, he decides that some of the creatures should speak, a move that is baffling on several fronts. The biggest one is that they are voiced by English-speaking actors like Michael Fassbender, Alicia Vikander, and Taylor Russell, but each speaks a non-human language, rendering their performances moot.

Jung-min puts in a fantastic lead performance, one that requires him to vacillate between abject terror and in-control leadership. In-Sung is almost as good, although his character requires him to play one note over and over again. Hoyeon, who some may recognize from Squid Game, delivers an extra shot of energy when she enters the film, something she keeps going despite her character being forced to say some bad lines.

If Hong-jin had kept the focus Hope a little tighter, the sci-fi thriller might have ended up toward the top of this year’s films. But by choosing to extend the story into territories that don’t add much to the plot or make much sense, the filmmaker puts a damper on what was a fun and brutal monster movie.

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Hope is now playing in theaters.

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