Rust, watch online movies , hurawatch

Rust, watch online movies , hurawatch

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Halyna Hutchins worked as the cinematographer in the Western movie called “Rust” where an outlaw tries to rescue his 12-year-old grandson who is wanted for murder. Hutchins died in October of 2021 when the star and co-producer of the film Alec Baldwin shot a prop gun that was incorrectly assumed to be devoid of live rounds. The shot fatally wounded Hutchins and injured the writer and director of the film Joel Souza. Production was resumed after two years with the blessings of Hutchins’ widower Matthew, who was given a producer credit.

Baldwin alongside the key players of “Rust” faced civil and legal actions which they were acquitted from but were never convicted of anything. The first assistant director that surrendered the gun to Baldwin was found guilty for inappropriate firearm conduct while the armorer was sentenced to 18 months of involuntary manslaughter. Baldwin’s case for involuntary manslaughter was dismissed after being proven that police and prosecutors “intentionally and systematically” omitted evidence that could have aided his position.

“Rust” begins with a 12-year-old Lucas Hollister (Patrick Scott McDermott) managing to maintain the family farm single-handedly after the demise of his mother, while simultaneously caring for his elder brother. It evolves into a brutally leisurely road trip movie with estranged familial ties drama, after Lucas, out of fury, ends up fatally shooting a neighbor farmer who, along with his son, taunted his younger sibling. Following Lucas’s hanging sentence, he gets saved by his maternal grandpa, the infamous outlaw Harlan Rust (Baldwin), who aims to whisk him away to Mexico.

The primary storyline is woven together alongside two additional plots. One features the local sheriff, Wood Helm (Josh Hopkins). Rust's jail break (set for the rescue of his grandson) culminated in the slaying of two of Wood’s deputies, plunging him into an existential spiral.

"I learned a long time ago that there ain't a God; it would have been nice to be wrong," he says to his best friend, the saloonkeeper (the always-excellent Abraham Benrubi, formerly of E.R., who is now smoothly transitioning to his role as a seasoned character actor). It is difficult to imagine how much more absorbing "Rust" would have been had he been in the lead role, as Hopkins's understated charm and charisma and his believability to the time period is truly astounding.

Aside from this, there is another storyline about one of the most infamous bounty hunters, who is in the race to claim the bounty of 1000 dollars for capturing Rust and Lucas. If you have watched “The Night of the Hunter,” you know that the self-acclaimed preacher and antagonist of the movie, Harry Powell, is widely accepted as one of the most evil characters of all time. "Rust" has edited "Night of the Hunter" and slapped a sticker of Powell's face with iconic phrases “LOVE” and “HATE” tattooed on the knuckles. A theory born by Travis Fimmel (Vikings, Raised by Wolves) who is said to quote the bible, dress in black, and infamously torment his audience without the holy verses gets him sent away to a mental facility.

Baldwin the actor: for some reason, it is hard to believe that Rust was the project that almost ended Baldwin’s career. As we know, Baldwin and Souza come up with the story together, but come on, Baldwin as a tough old gunfighter? Talk about a terrible casting choice. They have a line establishing that Rust grew up in Chicago, which is likely to ensure that you don’t question why the character has no business being a country man. Still, Baldwin does not possess the face, or voice, and more importantly the vibe for this type of movie. What is required is the type of performer who can answer the question “who are you?” with: “This ain’t no game, boy. I say we ride, we ride; I say we eat, we eat; I say we sleep, we sleep— that’s who I am” without the audience rolling their eyes so hard they can see the back of their heads.

There are other areas where delivery falls short, such as the rest of the wardrobe. Everything looks like it just came out of the washing machine, including the clothes, shoes, and hats.Not only is it voyeuristic to observe folks ‘in the wild’ going about their day, but even the way in which the scenes and sequences have been set gives a very cinematic vibe to it. At times it does come across like a novel has been adapted for stage with theatrical complications and intricate dialogue transitions from ‘Rust’ becomes utterly peculiar, partly due to their indie aspiration or ‘Hollywood’ take, complete with ramming emotion-driven diatribes monologs.

The movie is replete with ‘standalone’ scenes that could qualify as short films. A notable appearance is made by Frances Fisher, who played Eastwood’s ex-madam in “Unforgiven” and portrays an offbeat character, a dashing stranger who calls herself Lucas’s aunt but comes across as utterly depraved. Xander Berkeley is nowhere near as placid himself, getting an equally memorable role where he portrays a ridiculous yet grand bully and breathes life into the character worthy of an Eastwood western.

Regrettably, none of the three storylines and their respective protagonists are constructed well enough to warrant their entire inclusion, save for the one focusing on Rust and Lucas, and even that one would benefit from the removal of a few near-fatal escape scenes. (The film has a runtime of two hours and eighteen minutes and feels longer.) McDermott is excellent as the poor, big-hearted Lucas, who, it seems, grew up far too fast. The weight of his burdens is palpable. You have no doubt he possesses enough life experience to talk like a tired old prairie rat who believes that existence is suffering. It still remains difficult to assess this film’s merits and shortcomings without the real world’s tragedy intruding. The scale of the damage shrinks the room for that sort of accounting.

Baldwin has been indifferent to the fact that Hutchins lost her life while under his care. There is no empathy, sorrow, or remorse in Baldwin, only his preoccupation of framing Hutchins’ death as something terrible to him, and is primarily unfortunate because it ruined his work schedule. Now imagine that callousness alongside the story of an accidental firing of a gun which features unceasing shooting and expressions of ensuring that guns are loaded. “I wish I’d never written that movie,” the director stated in an interview with The Guardian. The director goes on to explain how Baldwin's unscripted show with his wife Hilaria on the family's dealing with the shooting aftermath was spun off into a saga because he rationally “was busy hitting myself in the face with a frying pan.”

With the passage of time, I would like to think that people will see “Rust” as a piece of cinema and not as a crime scene. Having the gunshot echo slower like a countdown until people can observe the “crime” from the comfort of “safety,” will offer greater detachment for evaluation as a less unfinished product. The answer sadly sits far away.

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