IIn the past six years, the Oscar -winning actor Matthew McConaughey, Amir Austin, Texas, has been busy. He raised his three children in the city, wrote and released a selling notes about “Easy-Livin” (“Because Life is an act”), was taught in the University of Texas Film Department in Austin, begging to control weapons at the White House after shooting at the terrible school in his hometown in Austin and “was seriously considered” to wander in Texas. But he did not behave on the screen-where he canceled his last cinematic role, as they were amazing in Harmondi Corin The Beach Boom and Jay Richie The Gentlelins, to the remote memory of the pre-2019 race. By the end of 2010, McCondsan’s energy went to another place.
That is, until Monday, when McConaughey has returned to the duties of promoting the red carpet to display Amazia King’s competitors, his first cinematic role in six years, to a crowd of his hometown in SXSW. Unnaturally for a non -manager, McConauughey presented the movie himself with typical people, in an attractive speech worth someone He is still studying for political positions. “I thought I was busy,” he said, as an explanation of his absence from the screen. But the writer and director Andrew Patterson is due to the behavior of “a love story of a full collection of bishops and vulnerable people who meet.”
This is the ethics of McConauughey, and he has not put six years in his ability to direct the magic represented on the screen. The film, unfortunately, is a different story. MCCONAGHEY may be a capable driver, but this is a non -practical car – large size, accumulate, and very large equipment on the parts smoothly. Amziah King’s competitors will say that he challenges this type – a noble chase, and this really means that it shows a stubborn resistance to editing or commitment up to three corridors. The film, which Patterson worked on for seven years, is at a small music video clip, family drama, a farce, a poem for a certain perfect jungle from Americana, exciting, theft, and a story of origin treated all over with wood that reads either very serious or useless.
It is also two films, a double chapters in a family love story between a man and his incubator daughter. The first chapter focuses on Amziah King, which is the creation of the McConauughey Model for Shaggy Hippee, Loryteller and Community Bailar, which runs a small honey in the south of the American; Patterson draws attention to the surrounding Amziah and the celebrations, and its roots in maintaining its cells and the roaming community of honey/popular musicians (played by Owen Tig, Sakut Shepherd, Rob Morgan, Tony Revolutioni, and Jake Horowitz, among others), with the Madanda of Marica. The second chapter is transferred to Kateri (the new expatriate Angelina Lookglass), the incubator’s daughter, Amziah, where she grows to the leadership of work through legal and illegal means, with a healthy dose of awakening justice aimed at the shaded agricultural Bigwig that played with Avuncular Menace by Kurt Russell.
They abound in the 130-minute movie of the film-Patterson kept a consistent strain of solid comedy (with brilliant lines from time to time and less transverse bonuses) that fall until the darkest moments and have signs of the plot. Sometimes, this makes an interesting slippery watch, strange strange to escape from the usual audience carried by a narrative movie. (Or just to become a video of a musical violin music in a Muslim form.) But it is a comprehensive symphony, full of dismay and strict notes that cannot be coexisted with a real poem to a “way of life”. (Amziah was set in the nominal present, but he feels old.)
There is an annoying inconsistency of Amazia King’s competitors, which adopts an ideal vision for the United States – racial harmony, society, modest dignity, and radical values - installed into a plot of unaccredited crime and a strange step from doubtful rationalization. No spoilers, but for a film that seriously proves a social and human way of life, it is characterized by a mysterious sense of ethics, and deals with life and death with the same skilled outside the ketter. The more the film is zigzag for its specific ending, the more the tone and the less cohesion of the image.
The more he misses Makkoni, who still has the charming gravity of a movie star but he disappears for more than half of the movie. The new expatriate Lookingglass finds the spirit of humor in Kateeri that flourishes as a bee queen of works, but there is not enough for her, her background, motivation, and experience as an original woman in the incubating care system, to establish a free strange in the second chapter of the film. What I imagine is supposed to indicate mysterious and mysterious intelligence instead as transparent.
In fairness, McConaughey explains the background of the limelight in this case a noble intention to allow others to shine, to draw attention to the next generation that was ignored, and the smallest time. But without it, and by embodying it, the ambitious American, the unstable thing is deviating away from the key.