Early in his almost 70-year career, Clint Eastwood (“The Mule”) cemented himself as one of the most iconic faces of the Western genre after appearing as “The Man With No Name” in Sergio Leone’s “Dollars Trilogy.” Later on in his career, the actor-director showed he had yet to forget his roots, with 1992’s “Unforgiven” showing audiences an updated, subversive take on both the genre and his traditional anti-hero archetype. 

Eastwood once again attempts to relive his past in his newest film, “Cry Macho,” which places the grizzled icon in a setting more contemporary than his past works. Though it achieves only minor success in honoring his legacy, the film shows that an old dog such as Eastwood can still learn new tricks as both an actor and director.

In “Cry Macho,” Eastwood stars as Mike, a retired rodeo star who must travel to Mexico to find his former employer’s teenage son, Rafo (Eduardo Minett, “La rosa de Guadalupe”), and bring him back to the United States. After retrieving the youth, the two bond as they endure a long, challenging journey home. 

As a neo-Western, the film brings some new elements to the table, given its 70s setting and use of a frail old man as a protagonist. Like past Eastwood characters, Mike is depicted to be a world-weary anti-hero. However, in accordance with the film’s lighter tone, he is shown to have more redeeming qualities and positive morals. Though his more favorable portrayal renders him to be less memorable than characters such as “The Man With No Name,” it does open the door for important themes, such as it being overrated for men to try and act tough, or “macho,” to be addressed in the film.

In the film, Eastwood’s character is shown to be tired and past his prime. Unfortunately, the actor’s performance often shows similar qualities. While he ultimately does his character justice by channeling the grittiness of his past characters, there are moments in which his line delivery, especially when profane, comes off as awkward or unsure. The same may be said for Minett, whose minimal experience acting is made apparent in a slightly amateurish, though respectable, performance.

“Cry Macho’s” greatest flaw is its cliché-ridden plot. While there is nothing inherently wrong with the story, its generic beats render it to be less interesting and impactful than past Eastwood films. This comes in part with its lighter tone, which causes the film to wander into familiar territory as it attempts to present itself as inspirational and heartwarming. Though it is nice to see Eastwood acting in a more lighthearted film, its lack of originality and emotional depth makes it difficult to fully appreciate its interesting themes and subversions.

As a director, Eastwood’s work on “Cry Macho” may be categorized as competent. By remaining committed to honoring the aspects of his past films which made them great, he succeeds in deriving occasional excitement and emotion from an overall generic plot. 

Furthermore, the director makes the most of the film’s contemporary setting, presenting scenery and other visuals which help maintain the spirit of classic Western films. While it soon may be time for the Western star to hang up his cowboy hat as an actor, Eastwood’s ability to direct solid films shows some promise for what he might be able to produce through the remainder of his legendary career. 

Image from Cry Macho via YouTube