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Many of Clint Eastwood\u2019s most recent films have arrived in quick turnaround, going from announcement to filming to release in a head-spinningly short amount of time. In 2018, he had one of his fastest productions ever with\u00a0The Mule<\/i>, a story of an 80-year-old man estranged from his family who takes on a job hauling drugs across the border in his pickup truck. Inspired partly by a true story, the film\u2019s sprint to theatres set expectations that it might be another of Eastwood\u2019s successful late season arrivals like\u00a0Million Dollar Baby<\/i>. The result was a Christmas season box office success, but a film that ultimately didn\u2019t attempt much of an awards campaign to make voters take notice.<\/p>\n
This episode, we don\u2019t mince words about how we feel about the film\u2019s offensive stereotypes and clunky pseudo-comic character study. We get into Bradley Cooper reuniting with Eastwood for a thankless role here in the same season as his triumph with\u00a0A Star Is Born<\/i>, and how Cooper shockingly missed out on becoming the season\u2019s frontrunner. And we discuss the film\u2019s trolling tactics, the work of screenwriter Nick Schenk, and the free pass the film received by critics.<\/p>\n
Topics also include an egregiously underused Dianne Wiest, flirting at flower conventions, and Eastwood grumbling the word\u00a0\u201cinternet.\u201d<\/p>\n
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