The Mule

Risky Retirement Plans.

Eastwood busts a humble and hilarious in and out mission with melodious journey jazz music and household efficient impressive tricks. No matter how dark the theme is and how much ruggedness it appeals, Eastwood’s mellow walk and talk amidst the high stakes nail-biting circumstances balances the film on the brisk of mediocrity. The storytelling neither grows compelling nor dull, it is a flat line on a mapped graph that is persistently gullible in its own range. Starting from the scratch, the initiative motive is often projected as a requirement that grows it to sculpt the character as a victim, but this isn’t your usual venture of good and evil, this is a unique Eastwood brand.

The protagonist isn’t justified or attempted to humanize through extra sequences installed forcibly, all that is left to Eastwood’s constant murmuring that draws in the laugh and emotions to connect with him. Almost split into two different tone, the road trips or the so called professional life of Eastwood wins over a large margin compared to his family drama. The road trip life that he enters with baby steps is explicitly written on papers and meticulously executed on screen. With an eye on each tiny detail, from humming to various songs to point out the difference between the subsequent generations, it is a packet of pure delight.

On the other hand, the family drama is left short handed due to the rush that it possesses, somehow. Unable to clarify the reason being, the makers are obliged to cover up a whole lot of time period of the conflicts especially concerning the equation of Eastwood between his daughter. And even though it circles back to a decent convincing symmetry in the end, the inceptive stages are a bit shaky and chalky.

On terms of performance, Eastwood at the driver’s seat has a not-so- Eastwood-y role to portray. Rhyming on a sarcastic tone and a real smooth conversationalist, Eastwood has both impressive one liners and cheesy sense of humor that makes you root for him more. Surprisingly, not even for a single frame, does he attempts to ooze power over the opposite actor on screen, he is generous, honest and supportive to others with his old military tactics. Cooper, as the stereotypical cop pursuing the case leading to the illegal activities carried out by Eastwood, is offered very little to chew on.

Although there is a decent conversation in its last act between Cooper and Eastwood, Cooper’s character still feels left untouched. Suffering from the similar disease are the victims Pena as Cooper’s sidekick and Fishburne as the usual under-cooked narrow minded boss. Armed with an eerie adaptation, Eastwood’s world is often dry, confined in its mechanical loop, as much as the procedure is gripping, there is no flamboyancy or grit to the narration. What is appreciative is the pace on the ladder that Eastwood keeps climbing on his new profession and the stillness between him and the road trips of his. The Mule is barely on our side, but what works for the film, is that it neither is against us.

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