This story was originally published on mynorthwest.com.
“Rust,” the much-maligned western film starring Alec Baldwin, is finally in theaters. Unfortunately, the movie remains incapable of escaping the tragedy that was the on-set death of cinematographer Halyna Hutchins.
Baldwin was holding a gun from the props department when it discharged, killing Hutchins and wounding director Joel Souza.
That tragic incident occurred three and a half years ago. Now the film is here, releasing in theaters Friday. One movie critic, Jesse Hassenger with The Guardian, described the film and its violent conclusion featuring a gun-wielding Alec Baldwin as “ghoulish” and “unnerving.”
Even when Souza was asked if there was anything he wished he could do over, he responded, “I wish I never wrote the d*** movie.”
With no advertising and a director who wishes this project didn’t exist, what do we, as an audience, do with “Rust?” Ignore it? Watch it and try to forget the off-screen bloodshed? Celebrate the last work of Hutchins? It’s even more of a conundrum when you compare this to another recent Hollywood tragedy—when camera assistant Sarah Jones, 27, was killed in a 2014 accident while filming “Midnight Rider.”
“Midnight Rider” was ultimately shelved entirely.
There’s a cynical read here about how all art, including movies, must turn a profit at all costs, and that the success and failure of movies are strictly financially based. In this instance, the original producers of “Rust” are not taking in any profits from the film, instead reaching a settlement with Hutchins’ surviving family, and her widower, Matthew, for them to receive at least a portion of the movie’s profits.
Maybe that adds some relief, but if film is about escapism, and “Rust” is about escaping into the Wild West with elaborate sets and spectacular cinematography, it’s hard to escape the underlying trauma and tragedy that came with this project.
What & How to Watch
On Max: ‘The Rehearsal’
The second season of the bizarre series from the enigmatic mind of Nathan Fielder (“Nathan For You,” “The Curse”) is here, and it’s just as weird of a series as it was when you last left it—if you had the curiosity and courage to check it out.
The show is a docu-comedy revolving around Fielder conducting “rehearsals” for uncomfortable situations everyday people are expecting to face in their real lives. Season 2 is all the more timely, focusing on aviation safety as Fielder challenges FAA safety standards and training for pilots.
The NTSB recommends role-playing to better train pilots to be assertive when preparing for crashes or analyzing what caused one. That’s where Fielder steps in, shining a light on an industry in absolute flummox in the most absurdist way.
The gags are elaborate, the humor is both deadpan and cringeworthy, and the tone leads its audience down a disturbing (in a non-horror way) path with each episode. Fielder is operating on another level, reinventing what “reality” TV can be, and that in itself is worth your time and attention.
On Netflix: ‘The Four Seasons’
Tina Fey’s latest project is an expansion of Alan Alda’s 1981 film of the same name, following three middle-aged suburban couples through group vacations they take each season. One of the couples meets its demise, and the subsequent awkwardness and tension from their separation becomes a feeding ground for Fey to pounce on with her brand of humor.
Co-starring Steve Carell, Colman Domingo, and Will Forte, the series may not be contenting for any major awards, but its up-and-down tempo goes down sweet like candy with more than enough sharp, laughable lines to encourage you to stick around for the next episode.
Watchable, breezy, and messy, the charming, foilable cast carries the project with charm and wit, while also giving its audience some delicious vistas as vacation backdrops.
Disney+: ‘Andor’ Season 2
As someone who’s mostly checked out on Star Wars and its many, many spin-offs that flood Disney’s streaming service, “Andor” is the one worth checking out.
The grounded series is closer to a spy thriller than a space opera, and while the world of Andor is dictated by lightsabers, TIE Fighters, and blasters with their iconic sound design, this series is more known for its drama, its performances, and the incredible monologues that come with said performances.
If you never associated strong writing with “Star Wars,” you’d be in the wrong when it comes to “Andor.” Season 2 has episodes released weekly, with the season concluding mid-May.
On Max: ‘Babygirl’
Nicole Kidman has become a staple for the modern erotic thriller, and “Babygirl” is her latest stab at it. Released late last year, it made plenty of waves for the daring performances, and now, for the first time, it’s streaming.
A powerful CEO struggles to balance her work and personal life when she flings herself into a troubling affair with a (much) younger intern. It’s a bold, provocative story that balances the erotic thrillers of the 1980s with modern workplace dramas, and all the quarrels that come with it.
The film wouldn’t work without the bold attempts from its stars, Nicole Kidman and Harris Dickinson. It doesn’t rely on cheap tricks or thrills; rather, it unfolds as a “coming-of-age” story, or a tale about “coming-to-terms” with reality.
Even Jason Rantz, host of “The Jason Rantz Show” on KTTH, had it in his top 10 films of 2024, and that’s no small feat.
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