Four Play

THE GREEN KNIGHT (2021) is often described as abstract, slow, or confusing, but those labels miss what the film is actually doing. Directed by David Lowery, this Arthurian adaptation isn’t a puzzle to be solved, but a moral fable about avoidance and the cost of refusing to grow up.
 
In this episode of Four Play, Richard Lewis, MonteCristo, and Thorin break down why The Green Knight is less concerned with symbolism and mythology than it is with character. Gawain’s journey isn’t about heroism, it’s about procrastination, self-deception, and the terrifying moment when excuses run out.  
 
Rather than presenting a traditional fantasy quest, the film strips the genre down to its emotional core. Each encounter tests Gawain not with strength or cleverness, but with honesty and courage, which are virtues he repeatedly fails to embody until the moment that finally matters.
 
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THE FOUNTAIN (2006) is one of the most ambitious, polarizing, and misunderstood films of the 21st century. Directed by Darren Aronofsky, the film weaves together three timelines: a conquistador’s quest for eternal life, a modern scientist racing against death, and a cosmic traveler drifting toward transcendence, which all bound by love, grief, and humanity’s refusal to accept mortality.
 
 
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THE OLD MAN & THE GUN (2018) feels less like a typical crime movie and more like a gentle farewell  not just to a character, but to an entire Hollywood era. Directed by David Lowery, the film stars Robert Redford as Forrest Tucker, a lifelong bank robber whose crimes are defined not by violence, but by charm, politeness, and an irresistible love of the game.  
 
As the final entry in our Robert Redford Arc, this episode explores why THE OLD MAN & THE GUN works as a perfect swan song. The film distills everything that made Redford an icon: effortless charisma, moral ambiguity, romanticism without sentimentality, and a deep understanding of aging, obsession, and identity. What emerges is a crime story with almost no tension  and yet carries enormous emotional weight.  
 
Lowery shoots the film on Super 16mm, giving it the texture and warmth of a 1970s classic, while Redford delivers one of his most restrained and expressive performances. Paired with a beautifully understated turn from Sissy Spacek, and supported by a stacked cast that includes Casey Affleck, Danny Glover, and Tom Waits, the film becomes a meditation on what it means to keep doing the thing you love even when the world tells you it’s time to stop.  
 
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SPY GAME (2001) looks like a slick, early-2000s spy thriller, but beneath Tony Scott’s kinetic style is a surprisingly thoughtful film about loyalty, institutional cynicism, and the quiet mechanics of real espionage. Rather than gadgets or superhuman assassins, SPY GAME is about phone calls, favors, leverage, and knowing the system well enough to bend it without breaking it.  
 
Robert Redford plays Nathan Muir, a veteran CIA operative on his final day before retirement, racing against the clock to save his former protégé Tom Bishop (Brad Pitt), who has been captured in a Chinese prison after going off-mission. What unfolds is less an action spectacle and more a chess match fought through bureaucracy, institutional blind spots, and decades of accumulated spycraft.  
 
As the film moves between past missions and present-day interrogation rooms, SPY GAME becomes a story about mentorship, moral compromise, and the cost of serving systems that treat people as expendable assets. Redford delivers one of his most restrained performances, while Tony Scott proves that a “popcorn director” can still find real heart beneath the spectacle.
 
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QUIZ SHOW (1994) shouldn’t work on paper: a quiet film about a 1950s game-show scandal, congressional hearings, and a rigged trivia show with no violence, no twist ending, and no flashy hook. And yet Robert Redford turns it into one of the most compelling American dramas of the decade: a deceptively sharp story about class, ambition, performance, and the birth of mass media.
 
 
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