Mudbound

2017

Drama / War

27
Rotten Tomatoes Critics - Certified Fresh 96%
Rotten Tomatoes Audience - Upright 86%
IMDb Rating 7.4 10 27222

Synopsis


Uploaded By: FREEMAN
Downloaded 139,481 times
February 15, 2018 at 06:22 AM

Director

Cast

Carey Mulligan as Laura McAllan
Jason Clarke as Henry McAllan
Garrett Hedlund as Jamie McAllan
Jonathan Banks as Pappy McAllan
720p.WEB 1080p.WEB
987.17 MB
1280*534
English
R
23.976 fps
2hr 14 min
P/S 6 / 79
2.05 GB
1920*800
English
R
23.976 fps
2hr 14 min
P/S 8 / 75

Movie Reviews

Reviewed by Fredrick Jackson 5 / 10

Tired of this kind of movie

As an African American, who is 70 years old, it is difficult to watch these kinds of movies. I don't require movies to describe what the Jim Crow south was all about. this movie was well made, but at times it was boring. The acting was well done, but some of the actors were not required to do much. It was a good movie for Netflix standards, but I would have never gone to the theater to see it. I hope that the song "Mighty River" wins the Golden Globe.

Reviewed by hunter-friesen 6 / 10

Mudbound boasts good performances and beautiful photography, but that's about it.

Mudbound is one of those films that I can never wrap my head around. It's definitely not a bad film, but definitely not a good one. The things it does right are too small to make up for the things it does wrong. The story isn't really that groundbreaking, but it's still serviceable enough to sustain mild interest. Mudbound is a film that is just fine on its own, but when comparing to other movies in its genre, or even other awards movies, there's nothing special to make it stand out. The film is set before, during, and immediately after WWII, tracking two families in the deep south, one white and one black. Both families endure struggles such as raising children in harsh environments and the threat of crop failure. However, the most important thing the film follows are the connections that the racially divided families make with each other. We see the fathers, mothers, and sons all bond together, each dealing with their differences in unique ways.

The film flirts with trying to be an epic examination of racism in America, but also an indie that looks at two different families in the same situation. Both go over alright, but neither stands out in the end. The film also falls into an endless cycle of repetition of trying to explain what life was like back then. Characters go through so much pain and setbacks that it gets tiresome by the end. We get it, life is hard.

There is also a storyline about the white mother, Laura, and her feelings about how her life has changed. While Carey Mulligan does a great job portraying a woman whose life is continuously getting worse as times goes on, she doesn't get enough time to make the story feel fledged out. This comes as a surprise for a long film such as this. Most parts dragged on for a while, almost feeling like the director needed more material to try and make this film different from similar stories that have been told before.

The cinematography here is exceptionally done by Rachel Morrison. She captures the vastness of the Mississippi plains, but also the dirty and putrid conditions of those same plains. The cramped houses of both the families are shown well, dirt and muck everywhere the eye can see. Natural lighting is used the majority of the time, which works to benefit the film since the sun is almost a villain itself, endlessly beating down on the characters. We see nature captured as both a giver of life and a harbinger of death, offering people just enough to keep them around while also punishing them relentlessly.

Carey Mulligan gives the standout performance as the wife of a man whom she loves less as the days go on. She struggles to remain loyal to him even though his actions are the sole reason why she is miserable in the first place. She's quiet on the outside, but on the inside, we can tell there is a battle going on inside her head of what she should do. It's perfectly balanced by Mulligan, who deserved more awards attention for her work.

Both Garrett Hedlund and Jason Mitchell do a great job as Jamie and Ronsel, respectively. They share a common connection through the war that is powerful enough to bring them together despite their racial differences. They both make their characters whole as they try to learn how to live a normal life back home after the war.

Mary J. Blige also does well as Florence, the mother of Ronsel and the matriarch of her family. She's a woman who is able to give compassion, but also ready to fight and hold her own when the time comes. She goes especially well with Mulligan and Rob Morgan as her husband, Hap.

Finally, Jason Clarke and Jonathan Banks are alright as father and son. Clarke is Henry, husband to Laura, and Banks is Pappy, an old WWI veteran who still believes the south should return back to times of slavery. They both give rather one-note performances that are easily overshadowed by everyone else.

There is a lot to live up to when you're attempting to make a film about race relations in America. Many have failed to reach the heights of films such as The Color Purple and most recently, Selma. Unfortunately for Mudbound, it too joins the club of those who have tried and failed. It was never able to surpass expectations and by the end only comes across as just good enough.

Reviewed by lasttimeisaw 8 / 10

MUDBOUND officially establishes Dee Rees as an unstoppable force to be reckoned with

Topical epithets like "African-American", "female", "lesbian" can immediately boost filmmaker Dee Rees as a shoo-in of any awards consideration to validate the industry's all-inclusivity dedication, but when MUDBOUND, her stirring second feature, misses both BEST PICTURE and BEST DIRECTOR nominations in the Oscar race, we can impute it to its bad luck, but never to the movie's artistry, as both Jordan Peele and Greta Gerwig overshadow her with the same politically correct cards (race/gender) in the directorial category, and labelled as a Netflix movie, the film may have reached more audience but is also predisposed to be brushed aside by the old guards among the Academy members on the strength of safeguarding silver-screen's sacrosanct purity, albeit changing of the form is inexorable.

Located in Mississippi during the 1940s, MUDBOUND traces relations between two families, the McAllans, two brothers Henry (Clarke) and Jamie (Hedlund), with Henry's wife Laura (Mulligan), their two young daughters and the brothers' father Pappy (Banks), who own a farm and the Jacksons, headed by Hap (Morgan), their tenant farmer, with wife Florence (J. Blige) and a brood of four. Both Jamie and Ronsel (Mitchell), Jackson's eldest son are recruited in the army to fight Nazis, the former is a bomber pilot and the latter on the ground, commands a tank in the Continent. It is their experiences in the war that brings them closer, after both are lucky enough to return home alive and kicking but find themselves beset by PTSD and wanting an aim in their post-war existence, their camaraderie will be tested in a nefarious lynch mob commotion in the climax, but salvation is well-earned with Dee Rees' conscientious endeavor, not least in her sterling aptitude of honing up an arresting narrative: horror and anguish are produced with frenetic editing in the under-lit condition, but never overstay their welcome, tendresse and pathos are dished out in apposite quotient without ever overstating their connotations.

Told intermittently through 6 main characters' voice-overs, this tack refreshingly fleshes out each player to constitute a fantastic ensemble, every adult in the McAllans, represents one particular mindset towards the entrenched racism, from Pappy's Ku Klux Klan-infused abomination, Banks, who can chill you to the bone with just a glance, is one's worst nightmare in living embodiment, which should be taken as a sincere compliment; to Henry's matter-of-fact treatment and congenital superiority, being considerably less unbearable makes it a more insidious barrier to overtake; then there is Laura's moderate kindness and Jamie's genuine friendship, which regrettably are not out of sheer truism or sense of justice, but on the condition of reciprocation (Florence tends to Laura's daughters when they are sick, and Jamie's life is saved by a black fellow pilot), this faintly retrograde narrow-mindedness has become this reviewer's pet peeve whenever racism is tackled in a fictitious creation.

Among its dramatis personae, R&B diva Mary J. Blige is the sole recipient of an Oscar nomination, her portrayal of Florence is palpably nuanced, composedly resilient and utterly lifelike (her proficiency of dispatching a rooster is very under-praised), not to mention with a puissant theme song MIGHT RIVER to render addition empathy during the closing credits (a double Oscar nominee this year). Carey Mulligan, on the other hand, is unfairly overlooked with her pitch-perfect incarnation of a neglected wife who is mired in a hopeless situation (her husband doesn't even ask her opinion about their life-changing relocation), not just by debasing her appearance, Laura is "mud-bound" in the most literal way (ablutions conduces to her unsatisfied desire and liberation), like many women, she seizes her marriage as an escape of her spinsterhood, and has to live with the consequence to the boiling point, that incestuous impulse, it is not an easily legible role but Mulligan glows with assurance and true grit.

On the masculine front, Jason Mitchell is the unequivocal one who rallies our sympathy and investment, which he runs way with in steadfast strides. Rob Morgan, also rounds out with a memorable impression as the undeterred paterfamilias, sticking to his guns within sagacious boundaries, as for Garrett Hedlund, who is tasked with the most thrilling retaliation in the form of patricide, is much as good as you want him to be, which leaves Jason Clarke takes the short end of the stick with a less showier part.

It will be a great remiss to not mention that DP Rachel Morrison has become the first ever female Oscar nominee in that branch owing to her finesse of designing its period-saturated, umber-hued landscape, and grabbing 4 tickets to the Kodak theater, odds are not exactly favorable to MUDBOUND, but at the very least it competently establishes Dee Rees as an unstoppable force to be reckoned with, and spearheads a belatedly surge of (black) female filmmakers on the horizon.

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