An outlaw who escapes from prison sets out to reunite with his wife and the daughter he has never met.
Visually ravishing, tonally commanding and built around magnetic performances by Rooney Mara and Casey Affleck as Bonnie-and-Clyde doomed lovers, Ain’t Them Bodies Saints is a tragic but not despairing tale of fatal romance set in the Texas hill country i
While virtually every shot looks like a work of art, much of the beauty of Ain’t Them Bodies Saints comes from Lowery’s refusal to choose sides.
‘Bodies’ gets under your skin and stays there. And the gospel handclapping soundtrack feels like it’s drawing you into a dream.
David Lowery’s quietly beautiful new film, his most ambitious to date, is at first glance a standard love story, set in the American West of what appears to be the early 1970s. Over time, however, Ain’t Them Bodies Saints transcends its plot, revealing it
Since he popped up and broke hearts in Altman’s “McCabe and Mrs. Miller,” Carradine has learned a wealth of practical acting knowledge about how much and how little need be done at any given moment. He provides the on-screen link to those earlier days and
Thematically at least, it’s like a John Ford movie with pickup trucks. But everything plays out with a sodden deliberateness, as if something mythic were going on. No such luck.
In mashing together story elements from Terrence Malick’s “Badlands” with the look of Malick’s “Days of Heaven,” Lowery put 90 percent of his energy into the atmosphere and 10 percent into the script.