#Let him go 2020 movie

#Let him go 2020 movie

He’s at his laconic best – his voice seldom rises above a low growl – but the movie is largely Lane’s show, and she’s splendid as usual, portraying how the western-bred Margaret draws upon reservoirs of strength in her resolve to save her grandson, the last connection to her child.

Set in the early 1960s (roughly a decade later than the book’s time frame), the film possesses a strong western sensibility with languid shots of the heartland, dovetailing with Costner’s fondness for the genre. It’s around there where “Let Him Go” – written and directed by Thomas Bezucha – confounds expectations, in mostly the best of ways. All smiles through clenched teeth, it’s clear they don’t welcome the prospect of outside interference, creating tension about just how confrontational the impasse is going to become, with a child’s fate hanging in the balance. They’re a thoroughly loathsome bunch, with a creepy uncle (Jeffrey Donovan) and even creepier matriarch (“Phantom Thread’s” Lesley Manville). Margaret is eager to intervene, but her husband George (Costner), a retired sheriff, adopts a more cautious tone.Īfter the newlyweds abruptly disappear, Margaret and George eventually locate them and encounter the husband’s family, the Weboy clan. She quickly remarries, but not too long after Lane’s Margaret is horrified to see the new husband striking both of them. In a quick opening segment, the pair’s son dies, leaving behind his wife (Kayli Carter) and young son. That faulty impression aside, this crisply-made tale is well worth seeing, possessing a throwback, star-vehicle quality for veteran actors that’s increasingly rare.Īdapted from Larry Watson’s novel with the same title, the movie reunites Lane and Costner after their teaming as Superman’s parents in “Man of Steel.” Parenting is again very much on their minds, although unlike Ma and Pa Kent, the situation here is considerably more grounded. The ads for “Let Him Go” frankly don’t really do the movie justice, making this understated little film – anchored by Diane Lane and Kevin Costner’s steely performances – look a lot more like “Taken” than it actually is.