Sous surveillance

The acting by a stream of well known faces who were young I when I was also young are very good, and being a similar age as them I could relate to some of what they were experiencing in the story. I listened to a review on the radio criticising the movie because of the difficulty of enjoying watching people past their prime in a suspense movie. Maybe the reviewer should have stuck to the Bourne movies to get their kicks.

Well age has nothing to do with it but maturity certainly does. The appealing theme here is that we don't leave our past so far behind us that it doesn't exert any major influence on us years later. In fact the more years that pass the more significant the past can become. I suggest you don't be put off by the negativity of what some others say and see the movie.

Although not one of Redford's best, "The Company You Keep" is still way better than the majority of so called thriller/dramas produced these days in my humble opinion...excellent acting all round, Redford is good as usual (if looking a little too old maybe for this role) and the supporting cast (Cooper, Tucci, Christie and Gleeson in particular) are a credit as well. Whilst there are not a lot of twists and surprises that you can't see coming, it's the way the story is told and unfolds, and it makes you think about your ideals and sacrifices and plotted that really counts. Although I'm a Brit in my 40's and the material is not familiar to myself at all I really enjoyed the ride. Solid, if not spectacular, but definitely worth the time to view.

The first thing I would like to say about this film is that it kept me entertained for two hours without once glancing at the clock.This in itself is no mean achievement in an age where many movies are unnecessary long. Hollywood obviously believes length is important if you want to be successful. Entertaining as it was I'm not so sure it was plot that kept me watching as much as the parade of veteran actors on display. A rather disparaging comment and maybe one that should have been reserved for the confusing historical context of the storyline itself. Being of an age that remembers the activities of the Weather Underground I was under the impression that their acts of terrorism had ceased by the time the Vietnam peace agreement was signed in 1973 since the Vietnam War had been the organisation's raison d'etre but in this film the Weather Men are still on a mission as we approach 1980. The film also has amusing parallels with another piece of Redford left-wing theatre, 'The Way we were'. In this 1973 film the Redford character, a talented screen writer, backs away from confrontation with the Communist witch-hunt in Hollywood and seeks respectability by compromising his ability and forsaking the woman he loves in the process. His 2012 alta ego also loses his passion for the cause and sacrifices love and a daughter by walking away, 'I grew up'. In both films Redford played people much younger than himself. I'm not sure what this says about Robert Redford but I think my wife summed it up when she remarked after watching an early scene in 'Company, 'He's not the father of that young girl, is he?' Exactly, a 75 year old unconvincingly playing somebody twenty years younger while in 1973 film he was a 36 year college student! Anyway,enough of Redford who otherwise gives a competent performance. It was good to see Julie Christie again and who along with Nick Nolte, Susan Sarandon and Chris Cooper and still capable of teaching the young pretenders a thing or two. All in all and enjoyable and nostalgic evening's viewing.

This film is about a journalist who uncovers the hidden truth of the events of a failed bank robbery by a radical anti-war group thirty years ago.

"The Company You Keep" looks amazing on paper, with an impressively stellar cast. The plot involves both a journalist and the FBI chasing after Robert Redford, which appears to have much tension but there really isn't. The journalist has the upper hand in unravelling the stories, making the FBI rather displeased. This supposed rivalry between the two parties is not portrayed deep enough, for example, the search warrant subplot was not followed through. How the journalist uncovers all that information was not presented, and hence I was confused about a few things, such as how he knew about the former policeman's daughter's true identity, and how he knew the true intention of Robert Redford's cross-state travels. There are too many loose ends and unexplained subplots, and too little tension. "The Company You Keep" could have been better, but is still worth watching for the stellar cast.

The Company You Keep has a startlingly star-studded cast and I was surprised to see that most of them were in small, thankless roles. People like Sam Elliott, Nick Nolte, Chris Cooper and Stanley Tucci have a couple, three scenes at most and aren't given much of anything to sink their teeth into. What I think this suggests is an immense respect for Robert Redford - there are very few directors who could assemble actors of that caliber for roles that probably anyone could play. And that respect is merited - with Company, Redford proves once again that he is an exceptionally talented director who deserves to be taken more seriously than he is.

It begins with the abrupt arrest of Sharon Solarz (Susan Sarandon), an American terrorist who had been living in hiding for decades since she was connected to a robbery that resulted in the murder of a security guard. Her arrest sparks renewed interest in the case and as a reporter (Shia LaBeouf) starts to dig deeper, a lawyer and newly single father (Robert Redford) realizes he is about to be uncovered and flees, leaving his daughter to stay with his younger brother (Chris Cooper) while he searches for an unknown something.

The foundation of Company is a clever, taut screenplay reminiscent of classic 70's American thrillers. It shocks the audience with reveal after reveal, always bringing up more questions and arousing more suspicions, but does so without a hint of self-importance and gracefully avoids inflated tension. Redford's graceful direction brings the electric writing to life and creates a suitably foreboding atmosphere - it's gritty, but not too dark; fast-paced, but not so much that it sacrifices plot or character; emotional, but not saccharine. For such an outlandish plot, Redford makes it feel as real as it possibly could. Too many modern thrillers like this try to make every beat into a high emotion scene, or build around the twist so it's as dramatic as possibly. Company avoids that - there is a refreshing lack of forced grandeur, and in its wake we get a surprisingly intimate film filled with truly fascinating characters and provocative moral questions that the screenplay doesn't answer for us.

The cast, as expected, are uniformly excellent. If there is a weak link it's Shia LeBeouf, whose real-life smug vanity suits the character but can only carry him so far when he's up against acting titans. He seems amateurish in his one-on-one scenes with Redford and Sarandon even though neither of them give especially domineering performances. Redford is an appropriately sympathetic lead but the supporting actors steal the movie - Susan Sarandon sets the bar very high right from the off. In her two or three short scenes, she reveals everything about her secretive, stony character; her microexpressions tell all. Cooper, Nick Nolte, Sam Elliott and Richard Jenkins light up their segments with their presences alone, while Brendan Gleeson delivers a hauntingly conflicted portrayal.

Julie Christie, though, is the standout. If this has to be her last screen appearance, it's comforting to know that she went out with a loud bang, playing a character so unlike anything she's ever done before. Her Mimi is ferocious and spirited, but her steely conviction can't quite mask the naive little girl who never really grew up hiding underneath. She communicates a world of internal conflict with a simple raise of her eyebrows, a pang of regret merely by letting her mouth fall open; she's a master of her craft, fully realizing her character in maybe 15 minutes of screen time where most of her lines hit the same note.

If there's one problem with the movie, it's that it's too short. A significant plot point towards the end isn't given the time and attention it deserves, considering its weight and implications. It felt like a wasted opportunity for an amazing, thematically fathoms-deep ending. However, the ending as it is is satisfying and well-done nonetheless, and cleanly wraps up an expertly crafted breath of fresh air for the genre. If only it had come out 35 years ago where it would have been right at home and probably would have garnered a better reception.