Stillwater (2021)


Tom McCarthy’s return behind the camera can be easily called a victim of circumstance and – to an extent – its own marketing mistakes. This story about an Oklahoma roughneck Bill Baker (Matt Damon), who goes to France to visit his imprisoned daughter Allison (the ever-wonderful Abigail Breslin) and then embarks on an impromptu detective quest to set her free in a country he does not understand at all, truly lends itself to be torn apart based wholly on how the film has been introduced into the zeitgeist. Problem is, Stillwater should not be torn apart, but lauded because it’s much greater than you might think.

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