First Cow 2020 123movies

Watch: First Cow 2019 123movies, Full Movie Online – A loner and cook (John Magaro) has traveled west and joined a group of fur trappers in Oregon Territory, though he only finds connection with a Chinese immigrant (Orion Lee). The men collaborate on a business, although its longevity is reliant upon the participation of a wealthy landowner’s prized milking cow..
Plot: In the 1820s, a taciturn loner and skilled cook travels west to Oregon Territory, where he meets a Chinese immigrant also seeking his fortune. Soon the two team up on a dangerous scheme to steal milk from the wealthy landowner’s prized Jersey cow – the first, and only, in the territory.
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Ratings:

	7.1/10 Votes: 18,856
	96% | RottenTomatoes
	89/100 | MetaCritic
	N/A Votes: 336 Popularity: 11.305 | TMDB

Reviews:

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As you should know by now, I love watching films as blind as possible: no trailers and a minimum amount of information about the plot (or none at all). A24 became such a popular studio that I don’t even need to know anything else about the movie, I’m always in. Universal, Paramount, Warner Bros., Disney, and Columbia might be the Big Five of film studios, but gradually people are starting to shift their attention to smaller, independent ones who deliver fewer movies per year, but a higher ratio of great films. This is also the very first movie I watch from Kelly Reichardt. The simplest of research will show everyone that her films are meant to heavily divide critics and audiences, so which side do I fall on this time?

I’m not trying to patronize anyone, but First Cow belongs to that category of movies that audiences hate and critics love simply due to the slow pacing and minimalist story. Audiences will look at this flick as a dull, long, uneventful story, while critics will not only appreciate its remarkable technical attributes, but also the sweet, simple narrative that delivers quite a nice message about friendship, loyalty, but also greed and power. I’m not on either extreme, but I did enjoy this flick. Overall, I actually agree with each group’s praises and criticisms.

On one hand, this small story feels refreshing and pretty relaxing, having in mind Hollywood is packed with visually overwhelming blockbusters. It’s a weird yet therapeutic couple of hours where the viewer follows two friends trying to get by. Cookie has the cooking abilities and smart ideas, while King-Lu uses his sense of opportunity to bring his friends’ ideas to life. The chemistry between John Magaro and Orion Lee is phenomenal, making their characters’ friendship feel incredibly authentic. The dialogues seem spontaneous and realistic. The editing (also performed by Reichardt) contains few cuts, letting the conversations flow naturally and the action to unravel at a slow, calm pace (in life, things don’t arrive fast one after the other).

On the other hand, the simplistic narrative is also rather predictable, and it loses the viewer’s attention occasionally due to the constant dragging out of several sequences where nothing truly happens, story and/or character-wise. It’s undoubtedly a slow-burn, nothing wrong with that, but it just isn’t able to be effective throughout the entire runtime. Christopher Blauvelt’s cinematography looks gorgeous, and William Tyler’s subtle score is particularly pleasant, but visuals and atmosphere can’t carry a screenplay for more than two hours. When the story gets going, it’s definitely captivating, but it gets itself stuck during short periods spread throughout the whole film.

In the end, Reichardt and Jon Raymond’s well-written screenplay transmits a pretty kind message developed through two characters who need to find a way to make a living, to improve their lives. Their personalities are distinct, balancing their friendship with both their personal qualities and flaws. Reichardt picks up the co-written narrative and gives it an excellent direction, which apparently has given this duo great success. Hopefully, they’ll keep making movies for everyone to enjoy, some more than others.

All in all, First Cow possesses one of A24’s trademarks: unconventional storytelling. Kelly Reichardt and Jon Raymond deliver a well-written screenplay, telling a minimalist story that will probably divide critics and audiences due to its purposefully slow pace and uneventful narrative. Reichardt, who also edited the film, takes a simple premise and gives it a realistic, grounded, layered direction characterized by genuine conversations and a true friendship. John Magaro and Orion Lee offer flawless performances, elevating their characters with emotionally palpable chemistry. Beautiful cinematography and a subtle score help the movie create a relaxing atmosphere different from the usual Hollywood flicks. Nevertheless, its runtime features dragged out moments, a predictable development story-wise, and while the film’s message is quite sweet, it can become a bit of a tedious journey to experience. Overall, I recommend it to anyone who just wants to peacefully watch a simple movie with a great message without caring about how long it takes to reach the end.

Rating: B

For sure not a Hollywood film. This film is a beautifully executed character study about friendship.

Outcasts in the American Frontier
A story about two outcasts who find friendship and a business partnership with each other in the American frontier.

John Magaro plays a gentle baker who begins the movie as cook for a prospecting expedition. He’s too thoughtful and sensitive to really fit in with the macho wild men he’s with, who bully and threaten him. Orion Lee is a Chinese immigrant who befriends him and suggests that they go into business selling the baker’s biscuits at a local trading post. The biscuits are a sensation, but the enterprise is a dangerous one — the only place to get milk is to steal it from the cow (yes, THE cow, not A cow) that belongs to the local aristocrat, played by the always welcome Toby Jones. The film begins in the present day with a hiker in the woods discovering something that hints at how the movie will end, and how the movie then circles back to that find is a small miracle of narrative storytelling.

Kelly Reichardt, who’s made a career of quiet, understated films, remains true to form here. “First Cow” shows much more than it tells, which should please fans of art house fare but will probably frustrate more casual moviegoers who have less patience for the way stories are told. The two main characters don’t talk much, but we learn much about them, not from what they say, but from how they act. The first time we see Magaro’s character, for example, he’s hunting for mushrooms in the woods, and he takes the time to set a salamander he finds back on its feet when it’s struggling to flip itself over. And when Lee’s character shows him to his cabin in the woods, the first thing Magaro does is find some wildflowers with which to decorate the small space. Little flourishes like these reward the patient viewer, and we come to like the two men so much that the end, though we’ve been warned of it in advance, feels that much more tragic when it comes.

Covid has seen to it that 2020 hasn’t exactly been the most robust year for movies, but of movies that have been released so far this year, “First Cow” is one of the best I’ve seen.

Grade: A

“It would appear that someone’s been milking your cow.”
I appreciate the thoughtful reviews of those who found value to this movie, but for this viewer it was a trying experience. It’s very dark in terms of lighting, as some pivotal scenes are virtually impossible to see. There’s a huge disconnect with the way the story opens and what it’s eventually all about, so don’t go looking for continuity there. The principal characters, once things settle down, are an immigrant fur trapper (John Magaro) and a Chinese wayfarer (Orion Lee) who hook up by accident, and with no other resources available to them, decide to team up to make a go of it in the 1820’s Oregon wilderness. The title of the picture directly relates to the introduction of a cow into the territory by a wealthy trader, and it’s jarring each time it’s mentioned that the animal lost her ‘husband’ on the trip over from England. Who talks like that?

Essentially, Otis ‘Cookie’ Figowitz (Magaro) and King Lu (Lee) team up in an enterprise of surreptitiously stealing milk from Chief Factor’s (Toby Jones) prize cow and using it as an ingredient in making baked goods that they trade for money at the local fort. This worthwhile venture into capitalism is disrupted when one night, Factor’s servant discovers their endeavor, and the chase begins to hunt down the malefactors. Separated while on the run, the pair eventually team up again down river, and the story ends abruptly when the injured Cookie requires some rest and both men fall asleep in the woods. At that point the end credits roll, and the sequel to the movie is left to the viewer’s imagination.

If you’ve never heard of a clafoutis, you’ll learn at least one thing watching the movie. And if you don’t, no use crying over spilt milk.

Other Information:

Original Language en
Runtime 2 hr 2 min (122 min)
Budget 0
Revenue 101068
Status Released
Rated PG-13
Genre Drama, Western
Director Kelly Reichardt
Writer Jonathan Raymond, Kelly Reichardt
Actors Alia Shawkat, John Magaro, Dylan Smith
Country United States
Awards 27 wins & 161 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix N/A
Aspect Ratio 1.37 : 1
Camera Arri Alexa Mini, Cooke S2 Lenses
Laboratory Harbor Picture Company, New York (NY), USA (digital intermediate by) (as Harbor Picture Company)
Film Length N/A
Negative Format CFast 2.0
Cinematographic Process ARRIRAW (2.8K) (source format), Digital Intermediate (2K) (master format), Spherical (source format)
Printed Film Format DCP