And there are times when you wish the themes weren’t spelled out in such a literal manner. has more than a few holes and is far too equivocal toward some characters (like Yoakum’s). There are a few things wrong with “ Cry Macho.” The screenplay (by Nick Schenk and N. It’s the “gettin’ out” that’s hard, as the sultry Mother doesn’t particularly want Rafo to leave (even though she has ignored him and given him up for lost.) And to that end, she has some “tough, armed hombres” at her disposal to look for Eastwood and Rafo (and Rafo’s rooster named “Macho”), as they make their way to the border in Eastwood’s ramshackle vehicle. Eastwood reluctantly agrees, mainly out of loyalty to his former employer (who admittedly put up with a lot.) As it turns out, the journey into Mexico is relatively easy. At the onset, Eastwood is fired by his employer (Dwight Yoakum), a Texas ranch owner who has grown impatient with Eastwood’s protracted decline one year later, Yoakum needs Eastwood to retrieve his “wild” teenage son Rafo (Eduardo Minett) who has been (unhappy) living in Mexico with his mother. The premise is fairly simple: Eastwood is a washed up rodeo rider/horse trainer whose life has gone to Hell since he lost his wife and child. This modern-day (late 1970s) Western puts Eastwood back in the saddle for the first time since “Unforgiven” while delving into some of the recurring themes of his career: honor, heroism, pride, loyalty, responsibility-and what it means to be a man.
Clint Eastwood’s latest film (I don’t dare say last film), “ Cry Macho” might certainly fall into that category. They leaned toward either summing up or perhaps commenting on recurring themes in his work. Toward the end of his career, John Ford made a number of what critics called “old man’s films.” What to watch next? Reviews of “Cry Macho” on HBOMax and “Worth” on Netflix.
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