This long-aborning adaptation of N. Richard Nash's 1975 novel pairs Eastwood with Eduardo Minett in an odd-couple odyssey through Mexico.
, Mike finds himself on a Mexican road trip that turns out to be more than he bargained for. He’s sent on this mission by his demanding former boss, Howard Polk , a Texas ranch owner who wants to reunite with his long-absent son, Rafo, who’s presently trapped in his mother’s allegedly abusive clutches.
Howard isn’t being entirely forthright about the situation, but those essentials are more or less accurate. You might wish they weren’t. Rafo’s mother, Leta , turns out to be an unpersuasive collection of vampy crime-boss clichés who, despite her feigned indifference to her son’s fate, has no desire for Mike to take him across the border.
The simplicity of the story Eastwood is telling would seem to suit his unvarnished, unfussy style, though frankly, a bit more fuss — a few more takes to smooth out a wobbly performance, an extra light bulb or two in the interior shots — wouldn’t have gone awry. But “Cry Macho,” with its attractive but not indulgent landscapes backed by a spare, twangy Mark Mancina score, takes pains to reject anything that might smack of falsity or pretense.
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