---
title: "Crazy Heart"
year: 2009
kind: "film"
canonical: "https://film.one/film/crazy-heart"
fi1m_id: "crazy-heart"
imdb_id: "tt1263670"
tmdb_id: 25196
wikidata_id: "Q1128750"
fi1m_score: 71
critics_score: 68
critics_reviews: 20
published: "2026-10-01T20:39:19.096577+00:00"
updated: "2026-10-01T20:39:19.696394+00:00"
region: "MX"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Crazy Heart (2009)

Directed by Scott Cooper · 1h 52m · Drama, Music, Romance

## Identity

Crazy Heart

- **Canonical:** https://film.one/film/crazy-heart
- **Type:** Film
- **Fi1m ID:** crazy-heart
- **IMDb ID:** tt1263670
- **TMDB ID:** 25196
- **Wikidata ID:** Q1128750
- **Same entity:** https://www.imdb.com/title/tt1263670/, https://www.themoviedb.org/movie/25196, https://www.wikidata.org/wiki/Q1128750

**Fi1m score: 71** · Critics 68 from 20 reviews

*In a sentence:* Jeff Bridges sweats through a shirt, sings like he means it, and the plot waits politely for him to sober up

> A washed-up country singer, a bottle, a woman and one more chance at a song: there is nothing here you have not seen before. Jeff Bridges plays it so truthfully, and the songs are so good, that the familiarity hardly matters until the last twenty minutes.

## Synopsis

Bad Blake (Jeff Bridges) is fifty-seven, a country singer who once wrote hits and now plays bowling alleys and bars across the American Southwest, driving himself between them in an old Suburban with a bottle of whisky on the seat. In Pueblo, Colorado, he plays a bowling alley to a half-empty room; in Santa Fe, New Mexico, a local journalist, Jean Craddock (Maggie Gyllenhaal), a single mother with a small son, comes to interview him and does not leave when she should. His manager, Jack Greene (Paul Herman), wants him to open for Tommy Sweet (Colin Farrell), the former protégé who now fills arenas and whom Bad has not forgiven for the success. Bad wants a drink, then another, then a new song, in roughly that order.

## Review

Scott Cooper’s first film as director, adapted by him from Thomas Cobb’s novel, follows Bad Blake (Jeff Bridges), fifty-seven, a country singer who once filled halls and now plays bowling alleys in the Southwest, driving himself between gigs with a bottle on the passenger seat. Everyone knows the shape of this: the drink, the woman, the reckoning. Cooper knows we know, and does not try to hide it. What he offers instead is Bridges, and for most of 112 minutes that is enough.

Bridges plays Bad as a man who has let himself go and is still, out of habit, a professional. He unbuckles his belt before he sits down and pours a drink before he takes off his hat, and when he gets on stage the belly and the sweat stop mattering because the voice is real and his timing is better than the band’s. He sings the songs himself, low and cracked and a little behind the beat, which is where a country singer should be. What we admired most is how little he asks for. There is no scene in which he tells us how far he has fallen; Bridges lets one look at a half-empty room do it.

Barry Markowitz shoots the Southwest in flat, hard afternoon light and the bars in whatever amber they already had, so Bad’s world looks like a place that has run out of things to hide. Waldemar Kalinowski gives every motel the same bedspread and the same lamp, and Doug Hall keeps Bad in one brown jacket and one pair of jeans across four states, so that a shave and a clean shirt register as an event. The songs, from T Bone Burnett and Stephen Bruton, with *The Weary Kind* written by Burnett and Ryan Bingham (who turns up as Tony, one of the pickup musicians), are good enough that we would have bought the record, which is not something we can say of most films about musicians. John Axelrad and Jeffrey Ford let them play almost whole, and the film is better for it.

Maggie Gyllenhaal plays Jean Craddock, a Santa Fe journalist and single mother who comes to interview Bad and stays. The script asks her to fall for a man twice her age who drinks before breakfast, and Gyllenhaal nearly makes it work by playing Jean as someone who knows exactly what she is doing and does it anyway. Robert Duvall, as Wayne, Bad’s bartender friend in Houston, is on screen for perhaps ten minutes, spends most of them fishing, and reminds anyone who remembers [*Tender Mercies*](https://film.one/film/tender-mercies) (1983) that he once played this part himself. Colin Farrell is the surprise. As Tommy Sweet, the former protégé who now plays arenas, he is warm, slightly guilty and a decent singer, and the film’s best idea is that Tommy is not the villain.

The scene that got to us is in Phoenix, where Bad opens for Tommy’s crowd. Halfway through a song he walks off, is sick behind a bin, wipes his mouth and walks back to finish it. Bridges plays it without a flicker of self-pity and Cooper does not cut away; the band keeps time and so does he. We were moved more than we expected to be, because the film is not asking us to forgive him, only to notice that somewhere under all of it he is still good at this.

The trouble is the last half hour. The second half takes a turn we will not describe, and after it the script, which had been content to watch, starts to arrange. Scenes that should take a week take a line. People forgive one another on schedule. The loose first hour, which felt like life, gives way to a story that knows where it is going and goes there without delay. We felt the gears turning, and we minded.

*Tender Mercies* did this with less and trusted its silences. [*The Wrestler*](https://film.one/film/the-wrestler) (2008) took the same shape a year earlier and was crueller about it. *Crazy Heart* is kinder than either, and the kindness is both its virtue and its weakness: Cooper likes Bad too much to make him pay a full price. Still, the warmth is honestly come by, and the film never pretends he is anything other than a drunk.

See it for Bridges, for Farrell, and for the songs, and watch it at home, where the small rooms and the small gestures suit the screen. Do not expect to be surprised. It runs 112 minutes and reached British cinemas on 5 March 2010.

*Fi1m score 71, published 1 October 2026.*

## What the critics say

Most critics like Crazy Heart, and nearly all of them like it for the same reason. Jeff Bridges’ performance as the washed-up country singer is praised in almost every review: understated, lived-in and convincing both at the microphone and away from it. His singing voice draws repeated comment, as do the original songs, and several reviews single out his easy rapport with Maggie Gyllenhaal. The story itself is called familiar by friend and foe alike; the positive reviews simply think Bridges makes that not matter.

The reservations cluster on the script. Several critics find the redemption arc sentimental and tidy, and Slant argues the romance pushes a loose character study into a contrived, monotonous shape. The Hollywood Reporter goes furthest, calling the material tired and the film ordinary despite being watchable, and Little White Lies finds the relationships underdeveloped. The spread is wide, from warm recommendation to outright dismissal, but even the harshest reviews exempt Bridges from blame.

## Straight answers

**How long is Crazy Heart, and what is it rated?**

*Crazy Heart* runs 1h 52m. It is a drama and music film.

**Where can I watch Crazy Heart in Mexico?**

*Crazy Heart* is streaming on Disney+ in Mexico. Availability is checked daily; the links above go straight to each service.

**What should I watch after Crazy Heart?**

After *Crazy Heart*, try [*Tender Mercies*](https://film.one/film/tender-mercies) (1983, Fi1m 86): Duvall as the drunk country singer; quieter, shorter, and it trusts its silences. Then [*The Wrestler*](https://film.one/film/the-wrestler) (2008, Fi1m 85): The same shape, a ring instead of a stage, and a much harder reckoning; and [*Nashville*](https://film.one/film/nashville) (1975, Fi1m 89): Altman’s crowded, caustic portrait of the industry Bad Blake fell out of.

### Reviews we read (20)

- **Los Angeles Times**, Kenneth Turan (85/100, inferred): Turan finds the familiar story elevated by a powerful, memorable performance and welcome integrity. He singles out Bridges’ seamless transformation and the excellent original country songs for praise. [Read](https://www.latimes.com/archives/la-xpm-2009-dec-16-la-et-crazy16-2009dec16-story.html)
- **The AV Club**, Nathan Rabin (B+): The review finds the film overly sentimental and tidy but ultimately easy to root for. It praises Jeff Bridges’ humane, deeply empathetic performance and weathered singing voice. [Read](https://www.avclub.com/crazy-heart-1798207655)
- **Empire**, Nev Pierce (4/5): The review calls the film deceptively affecting, with a familiar story elevated by strong performances. It singles out Jeff Bridges’ fully inhabited performance and the soulful songs as its greatest strengths. [Read](https://www.empireonline.com/movies/reviews/crazy-heart-review/)
- **Radio Times**, Stella Papamichael (4/5): Papamichael finds the drama intimate and compelling, with Bridges giving a modest, nuanced performance. She also praises the warmth of his connection with Gyllenhaal’s journalist and her young son. [Read](https://www.radiotimes.com/movie-guide/b-6bbzvn/crazy-heart/)
- **Total Film**, Neil Smith (4/5): Smith finds the film a familiar redemption drama, but says Bridges makes it worth watching. He praises Bridges’s gruff, authentic performance onstage and off. [Read](https://www.gamesradar.com/crazy-heart-review/)
- **Variety**, Todd McCarthy (75/100, inferred): McCarthy finds the familiar redemption story engaging, largely because Jeff Bridges makes its central character feel beautifully true. He praises Bridges’ performance above all, while noting that the direction is amiable but could use more snap. [Read](https://variety.com/2009/film/reviews/crazy-heart-3-1200477252/)
- **Evening Standard** (70/100, inferred): The critic finds the film enjoyable despite its familiar story and says Bridges gives a compelling performance. The review especially praises his expressive acting, warm singing voice, and the songs performed on stage. [Read](https://www.standard.co.uk/culture/film/jeff-bridges-on-song-in-crazy-heart-7418713.html)
- **The New York Times** (65/100, inferred): The URL identifies a New York Times review of the specified film, but the review text is inaccessible. Its verdict and specific praise or criticism cannot be verified from the page provided. [Read](https://www.nytimes.com/2009/12/16/movies/16crazy.html)
- **Screen Daily**, Mike Goodridge (64/100, inferred): The page provides no accessible critical verdict. It offers no praise or complaint beyond the film’s identifying metadata. [Read](https://www.screendaily.com/reviews/crazy-heart/5008624.article)
- **The Guardian**, Peter Bradshaw (60/100, inferred): Bradshaw finds the film hokey and sentimental, but says Jeff Bridges’s performance just about rescues it. He particularly praises Bridges’s confident, effortless portrayal of the washed-up singer. [Read](https://www.theguardian.com/film/2010/feb/18/crazy-heart-film-review)
- **Time Out** (3/5): The review celebrates Jeff Bridges, suggesting his achievements have not received enough recognition. It singles out his technical acting and ability to make every gesture count. [Read](https://www.timeout.com/movies/crazy-heart-1)
- **Slant Magazine**, Nick Schager (2/4): Schager finds the film loses its loose, character-study appeal as the romance drives it toward a contrived, monotonous redemption story. He praises Jeff Bridges for bringing distinctive humanity to the worn-down singer. [Read](https://www.slantmagazine.com/film/crazy-heart/)
- **Little White Lies**, Lorien Haynes (4/2/2): The review finds the film underdeveloped despite Scott Cooper’s potential. It praises Jeff Bridges’s detailed performance but says the character lacks enough context and the story’s relationships remain intangible. [Read](https://lwlies.com/reviews/crazy-heart)
- **The Hollywood Reporter**, Kirk Honeycutt (30/100, inferred): Honeycutt finds the film conventional and ordinary, despite its watchability. He praises Jeff Bridges’ mesmerizing performance and convincing singing, while criticizing the tired material. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/crazy-heart-review-movie-2009-93783/)
- **Digital Spy**, Stella Papamichael (85/100, inferred): The review is strongly positive, calling the film bittersweet and its ending romantic without becoming overly sentimental. It especially praises Jeff Bridges’s note-perfect, understated performance. [Read](https://www.digitalspy.com/movies/a202819/crazy-heart/)
- **The Wrap**, Steve Pond (82/100, inferred): The critic finds the film imperfect but warmly engaging, and argues that Jeff Bridges deserves Oscar recognition. He especially praises Bridges’ grounded, authentic performance and the lived-in quality of T Bone Burnett’s songs. [Read](https://www.thewrap.com/jeff-bridges-crazy-heart-nominate-him-9780/)
- **Eye for Film**, James Gracey (80/100, inferred): The critic finds the familiar story elevated by restrained writing and strong performances. Jeff Bridges’s understated performance and his natural rapport with Maggie Gyllenhaal are singled out for praise. [Read](https://www.eyeforfilm.co.uk/review/crazy-heart-film-review-by-james-gracey)
- **Collider**, Andre Dellamorte (70/100, inferred): The critic finds the film solid and rewarding, though familiar, with Jeff Bridges’s performance carrying it. He praises Bridges’s nuanced small moments and also singles out the music and Colin Farrell’s supporting work. [Read](https://collider.com/crazy-heart-blu-ray-review-jeff-bridges/)
- **Paste**, Chris Willman (65/100, inferred): Willman finds the film engaging and honest overall, despite a disappointing final stretch. He especially praises Jeff Bridges’ nuanced, unshowy portrayal of a functional alcoholic country singer. [Read](https://www.pastemagazine.com/movies/heart/crazy-heart-review)
- **Den of Geek**, Michael Leader (3/5): Leader finds the film dramatically weak despite Jeff Bridges’ outstanding performance. He especially praises Bridges’ charismatic singing and acting in the musical scenes. [Read](https://www.denofgeek.com/movies/crazy-heart-review/)

## Details

- **Director:** Scott Cooper
- **Director:** Scott Cooper
- **Screenplay:** Scott Cooper
- **Novel:** Thomas Cobb
- **Cinematography:** Barry Markowitz
- **Editor:** John Axelrad, Jeffrey Ford
- **Music:** Stephen Bruton, T Bone Burnett
- **Production design:** Waldemar Kalinowski
- **Costume design:** Doug Hall
- **Producer:** Scott Cooper, T Bone Burnett, Judy Cairo
- **Cast:** Jeff Bridges as Bad Blake; Maggie Gyllenhaal as Jean Craddock; Robert Duvall as Wayne; Colin Farrell as Tommy Sweet; Tom Bower as Bill Wilson; Paul Herman as Jack Greene; Beth Grant as Jo Ann; J. Michael Oliva as Bear
- **Runtime:** 1h 52m
- **Release (Mexico):** 26 February 2010
- **Genres:** Drama, Music, Romance
- **Budget:** $7 million
- **Box office:** $47 million
- **Trailer:** https://www.youtube.com/watch?v=Y0349E7kFEM

## Where to watch in Mexico

- Disney+: streaming, hd

*Checked 2026-10-01.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HU, IE, IL, IT, JP, LT, MX, NL, NO, NZ, PA, PE, PH, PL, PT, SE, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2010: Best Supporting Actress (nominated); Best Actor (won)
- BAFTA Film Awards 2010: Best Actor in a Leading Role (nominated); Best Original Music (nominated)
- Independent Spirit Awards 2010: Best First Screenplay (nominated); Best First Feature (won); Best Male Lead (won)
- SAG Awards 2010: Outstanding Performance by a Male Actor in a Leading Role (won)
- Writers Guild of America Award for Best Adapted Screenplay 2010: Writers Guild of America Award for Best Adapted Screenplay (nominated)
- Critics' Choice Awards 2009: Best Actor (won)
- Golden Globes 2009: Best Actor – Motion Picture Drama (won)
- Los Angeles Film Critics Association Award for Best Actor 2009: Los Angeles Film Critics Association Award for Best Actor (won)
- National Society of Film Critics Award for Best Actor 2009: National Society of Film Critics Award for Best Actor (nominated)
- Satellite Award for Best Actor – Motion Picture 2009: Satellite Award for Best Actor – Motion Picture (nominated)

## If you liked this

- *Tender Mercies* (1983), Fi1m 86: Duvall as the drunk country singer; quieter, shorter, and it trusts its silences. — [Fi1m page](https://film.one/film/tender-mercies.md)
- *Payday* (1973): Rip Torn’s country star on the road, with none of Cooper’s kindness and better for it.
- *The Wrestler* (2008), Fi1m 85: The same shape, a ring instead of a stage, and a much harder reckoning. — [Fi1m page](https://film.one/film/the-wrestler.md)
- *Wild Rose* (2018): A Glasgow single mother wants Nashville; the songs are live and the hope is earned.
- *Nashville* (1975), Fi1m 89: Altman’s crowded, caustic portrait of the industry Bad Blake fell out of. — [Fi1m page](https://film.one/film/nashville.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/crazy-heart