Director: Tom McCarthy
Cast: Matt Damon, Camille Cottin, Abigail Breslin
Screenplay: Tom McCarthy, Marcus Hinchey, Thomas Bidegain, Noé Debré
140 mins. Rated R for language.
I’ve been waiting on a follow-up to Spotlight for some time now. Tom McCarthy (The Cobbler) exploded as a director with his film about the Boston Globe uncovering the Catholic Church’s history of child molestation cover-ups. I’ve heard mostly solid things from my colleagues on McCarthy’s newest film, Stillwater, but I had no real intel on the film, and I didn’t know much going into it save for Matt Damon (Good Will Hunting, Jay and Silent Bob Reboot) being oddly cast as an oil rig worker. Surprisingly, Damon is among the better performances in this film that mostly succeeds even with a more muddled climax.
Bill Baker (Damon) has been back and forth between his small town of Stillwater and Marseille to visit his incarcerated daughter Alison (Abigail Breslin, Little Miss Sunshine, Zombieland: Double Tap), who is in prison for murder. When new information surfaces but the lawyers refuse to look into it, Bill takes it upon himself to investigate the info, and he gets the help of Virginie (Camille Cottin, Allied, TVs Call My Agent!) to assist him with navigating the legal system and the language barriers that exist with the differing cultures.
It’s hard to play a character that doesn’t seem to talk throughout the entire run time of the film, and yet Matt Damon tackles the role of Bill Baker in a surprisingly honest way. He doesn’t speak long emotional monologues, but he speaks in every gesture, displaying the wide array of emotions through a quiet and more subdued performance of visual tics and believable character building, and while I don’t agree with his choices throughout parts of the narrative, I can understand his reasoning, however flawed it can be. I can’t deny that even as I watch Bill lie to his daughter in the opening moments of the film, anger fueling me at the sheer stupidity of his false hope, I can still totally see why he would act that way.
There’s significant chemistry between Bill and his newfound friendship with Virginie as they play two entirely opposite people that have little in common other than the common decency of select humans. I was unaware of actress Camille Cottin before seeing here in Stillwater, and I was quite impressed with her turn as the actress aspiring to make ends meet for her child. The child, Maya, played by Lilou Siauvaud, is another standout performance here, specifically her scenes with Damon as he discovers a change to be a better father figure to her than he was with Alison.
Something else that struck me as quite powerful in Stillwater was the examination of culture, specifically in how it married the Oklahoman Bill Baker, full of Americana, burger-eating, and country-music-listening, to Marseille and the world that exists beyond our shores. The ways that McCarthy’s film examines the similarities and contrasts of the two worlds was quite effective and made for an interesting experience in viewing Stillwater.
Where the film falters is in its run time and its ending. For starters, this film is far too long, and to be fair, there’s a lot of film packed in here, but there’s simply no need for this movie to run 140 minutes. There’s an important plot adjustment in Act II that puts the film in a meandering state, where I felt that the character journeys took center stage at the detriment of plot. The character arcs are all quite interesting, but I was left wondering when we were getting back to what this movie was about. In fact, I had almost started wondering if the story would return at all before it did in a grand way. Unfortunately, the film’s main climax left me with too many questions about how events unfolded, what happened to certain characters, and the overall reality of the plot progression. I wouldn’t say any of this ruined the finished film, but my level of confusion and questioning caused me to try and make plot points fit together on the ride home from the theater. I’m not sure if some of this connections were in the script but excised in the editing bay or if they were never written in the film to begin with, but they pulled me out of the film.
With shades of Sean Penn’s The Pledge, Stillwater is full of pain, reckoning, and the forced acceptance of mistakes, and thankfully McCarthy injects a tiny bit of comedy in places where he can, or the film would be a drag of depression throughout. I really liked Matt Damon’s performance, and the think his character arc and the story are challenging and captivating, even if the ending drops off a bit. Stillwater is an interesting story, one we’ve seen before, but the infusion of cultural parallelism and a flawed but intriguing lead character make for an engaging film that I recommend.
-Kyle A. Goethe