Bill Baker (Matt Damon) heads from Oklahoma to France to see his estranged daughter, in prison for a murder she insists she did not commit, in “Stillwater.”
“Stillwater” — ★ ★ ★
It will be fascinating to see how the public responds to Matt Damon’s new movie “Stillwater,” a daring drama that runs directly counter to most popular superhero movies and classical westerns.
Those genres tend to simplistically divide the world into four groups: heroes to cheer, villains to hiss, and their respective followers.
The matured, reflective “Stillwater” injects us with a sobering dose of realism, the kind in which sacrifices happen, intentional or not, and the simple process of deciding how we act carries with it a great responsibility with life-altering ripple effects, some intended, some not.
As in real life, having it all remains a fantasy.
This movie has been written and directed by Tom McCarthy, writer and director of the Oscar-winning “Spotlight.”
Damon plays an Oklahoma roughneck named Bill Baker — blue collar, blue jeans, but not blue state.
He opens the movie by being on a crew cleaning up from the destruction caused by a terrible tornado. He watches as grieving people go through the ruins of their homes, picking up shards and memories of their shattered lives.
He knows about those.
Imprisoned Allison (Abigail Breslin), left, seeks help from her father (Matt Damon) in “Stillwater.” – Courtesy of Focus Features by signing up you agree to our terms of service
His wife has died and his estranged daughter Allison (Abigail Breslin) sits in a Marseille prison convicted of a murder she vehemently denies she committed.
During a visit, Allison tells her dad that if he can locate a mysterious young man named Akim and test his DNA, that might be her best chance for exoneration. For Bill, it would be redemption for a failed father.
OK, so now you think you’ve got his movie: a taciturn “mericun” goes vigilante by showing up the ineffectiveness of the French justice system.
But wait.
Bill Baker (Matt Damon), right, meets a single mother (Camille Cottin) as he tries to help his imprisoned daughter in France in “Stillwater.” – Courtesy of Focus Features
“Stillwater” abruptly takes a long, long left turn when Bill meets single mom and struggling French actress Virginie (Camille Cottin), and quickly falls into total adoration with her young daughter Maya (Lilou Siauvaud, in a luminous performance that steals the spotlight from her famous co-star).
We become so invested in a sad, broken man finding happiness in a place where he doesn’t even speak the language that we almost forget about Allison during this part of the movie.
“Stillwater” gets around to connecting the dots, but not in the traditional way you’d expect.
An American blue-collar worker (Matt Damon), left, bonds with a French girl (Lilou Siauvaud) as he tries to help his own daughter, who’s serving time in a Marseille prison, in “Stillwater.” – Courtesy of Focus Features
Also, it runs 140 minutes, and some viewers might think McCarthy should have traded in some of his nicely nuanced details for a fleeter running time and a less open-ended finish.
Nonetheless, Damon’s performance remains the film’s strongest asset.
His attitude, physical mass, body language and laconic demeanor blend together in a seamless character who wears blue jeans as if he just stepped out of a Bruce Springsteen music video.
