Hud

See there, jerks can be entertaining—so long as you’re not living with them. That’s the big takeaway here, as Paul Newman’s title character spends two hours making an ass of himself and tries the patience of Melvyn Douglas, Patricia Neal and Brandon De Wilde as Hud's father, housekeeper and nephew, respectively. Newman is exceptional in the role, maintaining a level of charm that belies the bastard underneath and never letting the viewer get disgusted enough to look away. The script is based on a Larry McMurtry story, and that writer’s skill at weaving a tale comes strongly through in this narrative. The movie also gets a big helping hand from the black and white cinematography, which looks gorgeous throughout and comes across as most appropriate for a story with so many shades of gray. Lastly, one can’t help but admire, of all things, the costumes—mostly, standard issue head-to-toe Levi’s—which are as common as what you’d expect in a tale of West Texas ranchers but which these days hit the eyes as absolute classic Americana. Yeah, some guys are jerks for little particular reason—and that makes it all the more remarkable when you’re riveted by their actions. Where's the beef? It’s right here—and it’s definitely worth a watch.

Cars

Pixar goes full redneck. One suspects this might have originally been titled “Cars Story” in keeping with its studio forebear, but that extra term in the name might have strained its target audience’s literacy level. For sure, I avoided this movie for a very long time, as I deduced from its upfront story elements—a thinly disguised NASCAR theme served up with a high degree of local yokel hi-jinx in a lot of the plot—that much about this work would not appeal to me from a baseline perspective. On top of that, viewing the film reveals another issue: a protagonist who is so relentlessly unappealing that it is hard to believe through most of the running time that the viewer will ever come about and actually root for him. Add to that some cookie cutter characters—including a few who would today probably fall under the baleful eyes of the identity crowd—and any number of predictable story elements, and it seems like this movie was just destined not to be my cup of tea, or motor oil as the case may be. No matter—the film found a gigantic audience anyway. And, I will admit, given all the above, it comes across as something of a miracle when, in the end, even the most disinterested viewer finds some redemption (and at least a bit of surprise) in the denouement. Add to that another welcome element—the movie gets the history of the impact of the interstate highways on small-town America 100% right—and there’s enough here for this film to earn a qualified recommendation. It’s no work of genius, to be sure, and in stretches it’s even a bit boring, but you don’t have to be ashamed of watching it, either. That’s about the the maximum praise this piece can get from this decidedly citified driver.

Cool Hand Luke

More a collection of memorable scenes than a good movie. The difficulty comes in trying to stitch those scenes together into something coherent and compelling. Luke's nihilism bleeds out any real end to the hero's means; it's tough to know why you're on his side beyond Newman's personal charm and presence. It could have been more, but ultimately this film is a "not quite."