
Apparently there's more manner of southern heritage than some folks care to consider. This piece strikes some interesting notes, to be sure, and it keeps Matthew McConaughy's mid-career resurrection moving in a positive trajectory--he is all over virtually every scene here, and owns the movie--but there are some failings, too. The film has focus problems, occasionally betraying a lack of decision about what message it wishes to convey. Trying to shoehorn in a decades-later court case involving a descendant of protagonist Newton Knight only muddles the issue, and makes the story seem more individual and less ecumenical. Also, there is a certain amount of predictability to some scenes, while other scenes drag enough to encourage the viewer's attention to wander. Overall, this is an intriguing attempt that works, to an extent--it's just not an overwhelming victory.
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