Good Girls
2019, NBC-TV, 43 min, USA, Dir: Michael Weaver

Mixing a little THELMA & LOUISE with a bit of “Breaking Bad,” Season 2 of NBC-TV’s comedy-infused drama “Good Girls” is all about its female protagonists dealing with the consequences of their criminal behavior. When we last saw Beth (Christina Hendricks), she had just returned home to find Rio (Manny Montana) in her dining room, with a gun trained on her bloodied and beaten husband, Dean (Matthew Lillard). As the last season came to a close, a shaken Beth was left holding Rio's gun as he taunted her to pull the trigger - what happens in the wake of that will have life changing consequences that ripple through the entire season for Beth and her fellow grocery store robbers Ruby (Retta) and Annie (Mae Whitman).


DOWN BY LAW
1986, Janus Films, 107 min, USA/West Germany, Dir: Jim Jarmusch

Director Jim Jarmusch followed up his brilliant breakout film STRANGER THAN PARADISE with another, equally beloved portrait of loners and misfits in the American landscape. When fate brings together three hapless men - an unemployed disc jockey (Tom Waits), a small-time pimp (John Lurie) and a strong-willed Italian tourist (Roberto Benigni) - in a Louisiana prison, a singular adventure ensues. Described by Jarmusch as a “neo-Beat noir comedy,” DOWN BY LAW is part nightmare and part fairy tale, featuring sterling performances and crisp black-and-white cinematography by the esteemed Robby Müller.


NO COUNTRY FOR OLD MEN
2007, Park Circus/Miramax, 122 min, USA, Dir: Ethan Coen, Joel Coen

A mesmerizing thriller from Academy Award-winning filmmakers Joel and Ethan Coen, based on the acclaimed novel by Pulitzer Prize winning American master Cormac McCarthy. The time is our own, when rustlers have given way to drug-runners and small towns have become free-fire zones. When Llewelyn Moss (Josh Brolin) finds a pickup truck surrounded by a sentry of dead men with a load of heroin and two million dollars in cash still in the back, a chain reaction of catastrophic violence begins that not even the law–in the person of aging, disillusioned Sheriff Bell (Tommy Lee Jones) – can contain. As Moss tries to evade his pursuers–in particular a mysterious mastermind who flips coins for human lives (Javier Bardem) – the film simultaneously strips down the American crime drama and broadens its concerns to encompass themes as ancient as the Bible and as bloodily contemporary as this morning’s headline.


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