Mule, The (2019) [Blu-ray]
Crime | Drama | Thriller

Tagline: Nobody Runs Forever

A naive man transporting lethal narcotics in his stomach is detained by the police. Alone and afraid, the "mule" makes a desperate choice -- to defy his bodily functions and withhold the evidence...literally. By doing so becomes a "human time-bomb," dragging cops, criminals. lawyers and his mother into his impossible escapade. Inspired by true events, The Mule is a comic nightmare of stomach-churning suspense starring Hugo Weaving (The Matrix, The Lord of the Rings), Angus Sampson (Insidious), Leigh Whannell (Saw, Insidious) and John Noble (Fringe).

Storyline: Clint Eastwood stars as Earl Stone, a man in his 80s who is broke, alone, and facing foreclosure of his business when he is offered a job that simply requires him to drive. Easy enough, but, unbeknownst to Earl, he's just signed on as a drug courier for a Mexican cartel. He does well, so well, in fact, that his cargo increases exponentially, and Earl is assigned a handler. But he isn't the only one keeping tabs on Earl; the mysterious new drug mule has also hit the radar of hard-charging DEA agent Colin Bates. And even as his money problems become a thing of the past, Earl's past mistakes start to weigh heavily on him, and it's uncertain if he'll have time to right those wrongs before law enforcement, or the cartel's enforcers, catch up to him."

Reviewer's Note: Reviewed by Randy Miller III, March 25, 2019 -- Based on the New York Times article "The Sinaloa Cartel's 90-Year-Old Drug Mule" by Sam Dolnick, Clint Eastwood's The Mule (2018) finds the spry 88-year-old in relatively new territory; it's especially surprising, given his tireless output through the years. He has directed six or more films every decade since the 1970s but has spent much less time acting in recent decades; this is first time he's pulled double duty since 2008's Gran Torino. Eastwood stars as Earl Stone, a Korean War veteran and successful horticulturist who has fallen on hard times during the eighth decade of his life. He's always put work before family, so ex-wife Mary (Dianne Wiest) and estranged daughter Iris (Alison Eastwood) are used to the disappointment of Earl not showing up to important events. Now his flower business has dried up and Earl is at rock bottom: the bank has foreclosed on his farm, his belongings are crammed in the back of a truck half his age, and his family wants nothing to do with him. Instead of changing his ways, all Earl wants to do is drive.

As luck would have it, Earl is approached by a friend of the family and given a unique job opportunity: make a delivery, no questions asked…and given the title of that New York Times piece, it's no surprise what ends up in the back of Earl's truck. His spotless driving record, age, and charming personality (when it's useful) make him the polar opposite of "suspicious", which means he ends up being extremely good at his job. The garage employees who give Earl the cargo and destination, though reluctant at first, learn to appreciate this unorthodox partnership. So does Mexican drug kingpin Laton (Andy García), who considers it a win-win situation. Before long, Earl is known as "Tata" ("grandfather") and makes one smooth delivery after another. Yet suspicion is soon raised: DEA agent Colin Bates (Bradley Cooper), along with his partner Trevino (Michael Peña), work with informant Luis Rocha (Eugene Cordero) to hunt down the elusive "Tata", while several mid-tier henchmen grow to resent Laton and his newest employee.

The Mule is slightly more complex than its surface story, effectively balancing the stress and desperation of Earl's new job with the growing distance at which he travels from his family. More than anything else, it's a somber and meditative road movie where the aging grandfather ultimately seeks redemption for his tireless work ethic; perhaps it's even semi-autobiographical, considering Eastwood's film output. All the while, The Mule deftly wades through grey moral territory within several layers of its story; almost no one is completely good or evil, and we're all the better for it. Earl makes several attempts to reconnect with his family and even uses most of his earnings to help struggling members of his community. Agent Bates, trying desperately to perform his job despite pressure from his quota-seeking boss (Laurence Fishburne), likewise struggles to maintain his own family life due to long hours. Even Earl's estranged ex-wife and daughter, at first unwilling to put up with any more of his selfish and reclusive behavior, can't hold a grudge forever. These small sub-plots, just to name a few, are what separate thoughtful and considerate movies like The Mule from more straightforward popcorn fare that puts thrills and suspense before three-dimensional characters.

The Mule isn't exactly a seamless effort, as a number of smaller supporting characters are either poorly acted or make almost no lasting impression. Earl's adult granddaughter Ginny (Taissa Farmiga) feels completely outclassed in every scene she's a part of, while Trevino seemingly exists just so his partner Bates isn't talking to himself. The script also could've used some fine-tuning: a handful of one-liners and glaring plot exposition ultimately distract from the illusion instead of maintaining it. The film also takes a creepy detour during a poolside party at Laton's Mexican estate, where the camera leers at countless women before they're ordered to "make Tata comfortable" (did we really need to see all that?), if not earlier during a left-field visit from two prostitutes at a motel. Earl's constant complaints about "the Internet generation", cell phones, etc. -- obviously the director speaking for himself -- also wear out their welcome almost immediately but just keep coming. Won't someone remind Eastwood that The Mule was shot digitally?

Even so, this is a well-crafted film that, like the director, is patient and methodical but still has energy to spare. (Not to mention that many of my criticisms above are found in at least a half-dozen of Eastwood's recent films, where again I'll bring up Gran Torino.) These are both long-winded ways of saying that fans of the director should rightfully consider The Mule one of his better late-period efforts and, at the very least, a giant leap beyond The 15:17 to Paris, released earlier the same year. That, and it's obviously got a strong moral center despite all the dubious activity, with Eastwood's charming performance doing most of the heavy lifting. Luckily, The Mule was greeted warmly by audiences and most critics alike during its theatrical run and should likely do well on home video. Warner Bros.' Blu-ray/DVD combo pack (4K edition also available) features a strong A/V presentation, although the extras leave a lot to be desired.

Whether The Mule ends up being actor/director Clint Eastwood's swan song or not, this is a clearly a well-crafted film with a great central performance that fans should enjoy. While the subject matter feels like unexpected territory for him as an actor, Eastwood fits the role perfectly and, behind the camera, imbues the film with a somber but charming atmosphere that's peppered with genuinely great moments. Those expecting a tense, white-knuckle thriller should remember that it stars a man older than the George Washington Bridge. Warner Bros.' Blu-ray (4K sold separately) is likewise a strong effort, even though its quality A/V presentation far outshines the lightweight extras. The Mule is certainly recommended for established fans of the director, but less so for those unfamiliar with his work.

[CSW] -3.9- Some thought that Clint was just getting too old to make a good movie. Wrong, he was excellent as well as the supporting cast. Clint Eastwood is just the guy for this interesting story about a geriatric turned felon. Adding the family drama gives the story a more depth and helps tremendously with the pacing. Camera work, sets, and backgrounds are good with a solid, realistic feel. Action is mild but fitting. While The Mule is interesting, it is much less entertaining. Eastwood takes his time telling a story and this one is no different with a slower plot and low energy level. Those who enjoy the drama more than the crime or storyline in general should enjoy this one. Those hoping for energy, action, or intensity will likely be disappointed. I fit the former.
[V5.0-A5.0] MPEG-4 AVC - No D-Box

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