The Mule - 1 smile

Clint Eastwood's "The Mule," which he directed and stars in, is based on the incredible true story of an octogenarian who became an unlikely drug mule, transporting staggering amounts of cocaine for a major Mexican drug cartel. It features an esteemed cast and it grapples with several of Eastwood's preferred themes: regret, forgiveness and the inevitability of mortality. With all of these pieces, "The Mule" should have been a rich drama. Instead, it's elusive and unsatisfying. Why? Possibly it's because Sam Dolnick's script tells a superficial story and doesn't do much to develop its characters. Eastwood's Earl Stone remains an enigma. Why does he seem so unconcerned about all of the drugs he's transporting into Chicago? Does he not care? Has drug mule become the easiest way for him to earn money? Early glimpses of the man in 2005 suggest that Earl is a smooth operator, enjoying being a big fish in a small pool. He'd rather party with strangers at a hotel bar than appear at the wedding of his daughter, Iris (Alison Eastwood). Twelve years later, having lost his home to foreclosure, Earl meets a stranger at his granddaughter's bridal brunch who hands him a phone number and suggests he could make a decent amount of cash by just driving. (This connection seems too contrived.) In a parallel storyline, DEA agent Colin Bates (Bradley Cooper) has the task of stemming the flow of drugs into the Chicago area. Laurence Fishburne plays his boss and Michael Pena is his bland partner.

Earl is a narcissist until nearly the end of the movie, having estranged himself from his family for decades in favor of working and playing. So when he has a sudden change of heart and finally says all the right things to the people he's disappointed for so long, including his bitter ex-wife (Dianne Wiest) and his more optimistic granddaughter (Taissa Farming), the moment doesn't have the emotional resonance that it should. The movie repeatedly hammers home its message about the importance of family, but it ultimately rings hollow. There's also an icky motif of xenophobia that permeates the film. Earl refers to the minorities he encounters in antiquated terms and the Mexicans he works for are scary, gun-toting criminals, depicted in stereotypical fashion with shaved heads and neck tats. And, of course, they're taking advantage of Earl, a hardworking Korean War vet who's seen the American Dream collapse beneath him. Ultimately, "The Mule" is a clunky, poorly written drama that sullies Eastwood's legacy.