Before CANDYMAN returns, Nia DaCosta's feature debut LITTLE WOODS arrives in theatres April 19th, 2019.
Jacques Audiard's film adaptation of THE SISTERS BROTHERS deals with the Wild West becoming a modern world.
RED HILL is a postmodern Western that takes on colonial attitudes towards Indigenous Australians.
Hell or High Water. 2016. Directed by David Mackenzie. Screenplay by Taylor Sheridan.
Starring Ben Foster, Chris Pine, Jeff Bridges, Dale Dickey, William Sterchi, Gil Birmingham, Buck Taylor, Kristin Berg, & Katy Mixon.
Film 44/OddLot Entertainment/Sidney Kimmel Entertainment.
Rated 14A. 102 minutes.
Disclaimer: This review may contain several spoilers concerning the film’s finale.
The prospect of David Mackenzie (director of the phenomenal jail film Starred Up) and Taylor Sheridan (Deputy Chief David Hale on Sons of Anarchy and screenwriter of Sicario) making a film together is enough to get me on board. They’re each talented. After both the aforementioned movies it’s not hard to get excited – Starred Up is one of my favourite prison stories out there and Mackenzie’s directing helped the actors shine; Sicario comes at you like a shot in the night, written with depth by Sheridan.
Post-2000, the Western has seen a comeback. Not that every really went anywhere, but it’s definitely not as popular as it was in the 1950s and 60s when cinema saw everything from High Noon to Shane to The Wild Bunch and Sergio Leone’s Man with No Name trilogy.
But over the past 15 years or so we’ve seen films like The Proposition, The Three Burials of Melquiades Estrada, No Country for Old Men, the excellent Elmore Leonard television adaptation, FX’s Justified. Most recently there was Bone Tomahawk, and you can’t forget Tarantino and his Western-styled Django Unchained, as well as The Hateful Eight.
Much as I love all these more contemporary Westerns, and as much as I consider a couple of them genuine masterpieces, none of them capture the modern spirit while paying homage to the classic Western feel, characters, and plots. Perhaps it’s the past couple years especially, one thing’s for sure – Hell or High Water epitomises the economic struggle of people clinging to old ways of life in a world moving further into modernity every minute, for better or worse.
Throughout the film there’s a pervasive sense of desperation. The seriousness yet amateurish execution of the brothers and their robbery(/robberies) is quickly made evident. Both Tanner (Ben Foster) and Toby Howard (Chris Pine) are complicit in their crimes, although the former is crazier, a little less predictable. Toby wants to secure a future for his boys. Tanner’s already been to prison, he has nothing left to lose and only money to gain. So the desperation is different between the brothers.
Another part of the story involves how, in some places like little rural towns, not-so-subtle racism is rampant. There are a bunch of perfect instances of this at various points. “They‘re not even Mexicans,” an old man says as one bank is robbed by the Howards. When ole Marcus Hamilton (Jeff Bridges at possibly his greatest; that’s saying something) questions people on the robbery he leads with they must’ve been “Mexican, black” and later Hamilton even says to his own partner Alberto Parker (Gil Birmingham) that he knows “how you injuns like the bottle.” Hamilton represents that weird dichotomous supposed Southern gentleman who’s borderline to full-on racist at any given moment, yet a guy who’ll stand with a slight bow for a lady. There’s a lot of good writing from Sheridan, who seems intent on showing Texas in all its glory, whether that’s good or bad depends on the moment. But it’s warts and all, which makes everything feel right in place.
On a technical level, Hell or High Water is beyond fantastic. The cinematography helps show a small town in an economic slump, its slightly desolate sense of atmosphere, from which the desperate characters reach out to us begging for understanding. The look of the film is simultaneously gorgeous and full of grit, a perfect combination somewhere in the middle of the two. Then there’s the score from Nick Cave and Warren Ellis, who coincidentally did the score for another masterpiece Western (The Proposition). Their sound is perfect for the tone of the film and lifts many a scene, lending gravitas to even the tiniest of moments.
Again, I have to praise Sheridan. He writes the action well, opting not to go for all guns and chaos and instead focusing most on the characters to give us the impact necessary. Moreover, the dialogue’s the fresh kind. Not afraid to feel informal, personal, as well as the fact it’s funny at times and also deadly serious where necessary. Above all else, the Howards feel like actual brothers, Hamilton is a true old school Southern man. There’s a spectacular true to life concealed carry gunfight in one of the banks, followed by other Texans with guns waiting outside; sort of perfect, on the nose representation of how an actual robbery in the South could go down. Just all around awesome stuff continuing the screenwriting roll Sheridan is on as of late.
Tanner: “Only assholes drink Mr. Pep”
Toby: “Drink up”
On display in the screenplay is that dying Southern ideology of pretending racism is all in good fun, jokes and stuff, when really the laughs are only a cover for the true prejudice hiding underneath. This is clear through the tenuous partner-to-partner relationship between Marcus and Alberto, which flares up now and then getting fairly serious from time to time. Further than that, it’s tragically funny and at once awful that the cops blame blacks and Mexicans for so much crime when it’s actually two dirty white boys running around committing crimes. Classism is also there, as the two dirty white boys, like so many immigrants, are only trying to keep themselves from being fucked over ultimately by the banks and bullshit bureaucratic policy that affects the most vulnerable. In the end, it’s the elusive American Dream that’s always knocking at the door, increasing the desperation of cops and criminals alike.
This is a downright incredible Western, such a great contemporary take on the genre. Hell or High Water seems standard until the tail end when the brothers’ plight opens up story wise, revealing a few things that make the film’s final ten minutes one mighty treat to chew on: “I‘m the man who killed your brother,” as if ripped from an old Gary Cooper flick or something with John Wayne.
All three of the leads – Bridges, Foster, Pine – are impossibly perfect in their respective roles. Bridges, whose characters feel more good ole boy than Tommy Lee Jones in No Country for Old Men and thrice as grizzled, gives one of the best performances of his career. He shines as a man who’s well cemented in leading roles yet also has the makings of an impeccable character actor. The little things about Marcus Hamilton make him enjoyable, even as you hate him.
A 5-star bit of cinema, one of the best contemporary Westerns out there; if not the best in the past couple decades. I can’t for more directorial efforts from Mackenzie, proving himself double after this and Starred Up. And if Taylor Sheridan keeps producing the work he’s been pumping out in the last couple years, he’s bound to give us lots more to enjoy.
Bad Day at Black Rock. 1955. Directed by John Sturges. Screenplay by Millard Kaufman; adapted by Don McGuire & based on a story from Howard Breslin.
Starring Spencer Tracy, Robert Ryan, Anne Francis, Dean Jagger, Walter Brennan, John Ericson, Ernest Borgnine, Lee Marvin, Russell Collins, & Walter Sande.
Not Rated. 81 minutes.
John Sturges – a fine specimen of a director. He directed films from the mid 1940s right up into the latter half of the 1970s. I love a writer-director, but something is exciting about some of the older generations of directors, the guys that just went full force at their sole job as director and did a damn good job at that. Sturges is one of those types, whose main concern was the directorial choices necessary for making a picture.
For me, the era of his greatest work begins after this film, Bad Day at Black Rock. This is the story that captured a specific current in the American public which not many movies were ready to tackle. In 1955, with the wounds of World War II, Pearl Harbor and everything in between still fresh, a story like this one couldn’t have been easy to tell, nor would it have been easy to swallow. Also considering the plot is set in later ’45. What’s best is that it isn’t just a heavy handed toss at trying to be interesting. The acting is stellar, beyond that. The screenplay is tight, the at times minimalist dialogue edges just close to exposition before keeping itself wrapped in mystery. And finally Sturges himself adds that one perfect element as director, alongside the work of D.P. William C. Mellor with his eye for gorgeous landscapes and bringing to life the vivid portrait of a tiny town on the edge of a nowhere desert. There’s not enough time to talk about how good this movie is, and believe me, I love to ramble. I love movies from any era. I know not everybody does, that’s fine. However, you’re really doing yourself a disservice as a lover of film, if you call yourself one, by not seeing Bad Day at Black Rock. Right down to the score, this is a flawless bit of cinema that cries out to be experienced.
Right off the bat you can’t help but keep your eyes glued to Spencer Tracy. He has a charm that is immediate to me. Always, in any film. It’s the mystery of John J. Macreedy which I find intriguing, and from the moment you lay eyes on him there’s a quality that draws the viewer in. He’s so nonchalant, mysterious yet confident. His demeanour is sly, but still open. He almost feels a walking contradiction, though not in any way offensive. So then once the men in Black Rock start hovering around, causing him grief and getting into his business, it’s even more interesting to watch. This seemingly nice, normal guy – aside from having a missing arm, that doesn’t appear to give him much difficulty working around – gets thrown into the mix of a town that has more going on than it looks on the surface. Tracy’s ability to make Macreedy so calm and collected serves the film well, as it isn’t just the mystery of Black Rock but the mystery of him as a character that propels us further, wanting more. OH! When he kicks the shit out of that one guy with his single hand, it is in no way cheesy or forced or Hollywood-ish to the point of ridicule. He makes it genuine and bad ass.
The whole cast is spectacular, it isn’t solely Tracy. You’ve got Ernest Borgnine playing a sassy backwoods-type; not a huge role, but he does it justice with a proper menacing streak. Robert Ryan is wonderful – in parallel to the character of Macreedy, Ryan’s Reno Smith is calm in his own right, just that he’s calm for much different reasons with different things at stake than Macreedy. I love Ryan in general. Here, he gives a nice performance in a devious role. Then filling out the cast is Lee Marvin, always a treat no matter how big or small a role he plays; he’s welcomed addition to the rest of the players. As well as Walter Brennan and Anne Francis, each doing good things with their small parts. Overall, this is a classic cast of familiar faces that all make their characters stick in your mind.
But make no mistake, it’s Tracy who sells the film. Ten times over.
There’s a great little car chase over a desert ridge that’s lots of fun, even without all the more contemporary flash and any crashes/explosions. What I dig most is the way it’s filmed. You’d almost swear that in the more stunt-like shots Tracy and Borgnine are both actually driving. Although obviously they didn’t, especially considering Tracy’s character has his hand in his pocket the entire time (something they did well on for continuity), this is still an admirably filmed sequence. All around I love the look of the movie, the cinematography is every bit the classic Hollywood style and it is pure, simple beauty. There’s something to be said for shooting on film, as opposed to now where it becomes more expensive for directors to do so, many opting for digital. And not to knock digital, I dig certain filmmakers because they can make it look as good as film. Yet these old movies, the ones shot through the 1940s and into the 1960s, they have such a nostalgic, perfect feel. There is a vibrancy that is so clear, so pristine, it makes movies look like something right out of a memory.
Bad Day at Black Rock does something I’m a fan of, in terms of its screenplay. Mixing genres is something that, when done well, can be terribly fun. What I enjoy above all other elements is that the story is full-on western while also draped in the trappings of the film noir genre. We have that staple of the western, a lone and mysterious man riding into town, then there’s the setting itself being a small town out in the middle of the mountains, in the midst of desert. Everything screams Wild West, yet we’re set in 1945. On top of that there’s the noir-like plot of Macreedy searching for a man, one we gradually find out more about. The way the story’s structured is very much like an old hardboiled fiction novel, like a slice of Raymond Chandler crossed with John Ford. Truly a treat to watch play out. Best of all, the plot contains some touchy subjects for a film made in ’55. There’s a sensitive piece of American history involved, Pearl Harbor pulled into the story, but it’s well explored in a way that doesn’t feel like the writing stands on a morally high ground, rather one of introspection via mystery-thriller. This film touches at an open American wound that was freshly pulsing at the time. Kudos to Sturges and all involved.
This is a 5 star flick, all the way down the line. From the great performance by Tracy, to a drop of Ryan and Marvin, to every last god damn minute of the film. I can’t recommend it enough. It took me 30 years to see it, and I’ve already watched it a couple times so far this year. Might have to make it a hat trick before I turn 31 in the fall.
Not often do we get a Civil War-era horror story. Screenwriter Simon Barrett pens this fascinating indie crossing supernatural horror with a tale of the South, slavery, robbers and gold.
Django Unchained. 2012. Directed & Written by Quentin Tarantino.
Starring Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington, Samuel L. Jackson, Walton Goggins, James Remar, David Steen, Dennis Christopher, Don Johnson, Franco Nero, Bruce Dern, M.C. Gainey, Jonah Hill, Tom Wopat, Don Stroud, Russ Tamblyn, Amber Tamblyn, and Tom Savini.
The Weinstein Company/Columbia Pictures.
Rated 18A. 165 minutes.
Recently I saw The Hateful Eight. Taking a step back in time, in that same universe, I went back to Quentin Tarantino’s brutally honest, raw Western (or “Southern” as he likes to call it), Django Unchained. Sometimes I actually forget how good Tarantino is. To me, he’ll always be a truly great director. A master, in fact. My favourite film of his is still, and always will be, the adaptation of Elmore Leonard’s Rum Punch that Tarantino did, Jackie Brown.
But I do believe Django Unchained is one of his most impressive works out of the entire filmography. Let’s face it – there are rarely as interesting, influential and weird writers as Quentin out there. He brings that to the world of slavery and America in its former days, its worse days.
Editing by Fred Raskin, cinematography from D.P. Robert Richardson, practical effects courtesy of KNB wizards Howard Berger and Greg Nicotero (fucking legends), plus a load of other talented people, it all compounds to make Django Unchained into a great Western/Southern for the modern day confronting America’s historical race issues, specifically slavery, topped with the usual wit and style of Quentin Tarantino.
Down around Texas in 1858, a slave named Django (Jamie Foxx) is being transported, along with a bunch of others like himself. Soon enough, Dr. King Schultz (Christoph Waltz) shows up. He offers to buy Django, but things end up going bad. Schultz murders the men carrying the slaves, and then takes Django with him; now a free man.
With Django riding side by side with Schultz, they set out to find the Brittle brothers – whom the doctor seeks, being a bounty hunter and all. This is how Django purchases his freedom, tagging along to help track and kill a few wanted men. Perfect for the newly freed slave. He’ll have his revenge. Better yet, Schultz agrees to help Django track down and free his wife: Broomhilda von Shaft (Kerry Washington). Only problem is she belongs to the notorious slave owner Calvin J. Candie (Leonardo DiCaprio) at the Candyland Plantation. Encountering various wild and nefarious characters, Django and Schultz work their way towards Candie with death, madness and terrifying racism always nipping at their heels in an American Southern Hell.
One thing I love about this film is the fact it boasts an incredible amount of characters. Better yet, they’re Tarantino characters. Now, for those who do not like his style, or his characters, whatever – then they’re probably not for you in general. But I dig the way he gives us characters, often not diving too deep into their backstory – especially depending on if they’re big or small characters – which sort of intrigues me. Here, it’s not simply an ensemble cast, there really is almost an entire Southern U.S. filled with characters in Django Unchained. From Big Daddy (Don Johnson) and his nasty group of pre-Klu Klux Klan bagheads, to James Remar’s awesome Western-homage double character Ace Speck/Butch Pooch, to M.C Gainey as Bible thumping hypocrite Big John Brittle and Bruce Dern as Old Man Carrucan, to a Franco Nero cameo and a tiny appearance by Walton Goggins. So many different characters occupy the space of Django Unchained. And I know that all of Tarantino’s films are ensembles, there are often a bunch of characters. It feels to me, though, this one takes the cake. It doesn’t introduce too many either, not in the sense that too many are there to be touched on. Even Jonah Hill gets in a cameo with the bagheaded mob led by Big Daddy.
Best of all are the main cast. Foxx gives Django a ton of charisma, the likes of which no other actor could’ve given him. Hands down. Sure, maybe he wasn’t Tarantino’s first choice on the list. But he makes this film what it is, without him it doesn’t matter how well Walt dances over the wonderful screenplay. There’d be no movie without Django the character, and Foxx makes it worth every last second. From the first to the last, he gives it his all. Then alongside him, Waltz impressively characterizes an odd yet charming man in Schultz – both a bounty hunter and a gentleman, a liar and a straight shooter (in more than one sense of the term). No doubt he deserve his Academy Award. He also brings to life the other half of the film. Perhaps others could have played Schultz, though, I’m hard pressed to think of anyone whose abilities rise to the level of capability required to sell this character; Waltz has a hokey-ness about him that isn’t cheesy, it works so well, it makes Schultz who he needs to be, the perfect counterpart to Django.
I can’t not mention DiCaprio’s Calvin Candie and Stephen, played by the ever fabulous Samuel L. Jackson. They both give terrific performances in two very tough roles. Again, as I said recently while reviewing The Hateful Eight, as a white man I’ll never understand how it feels watching a film about race, especially slavery, and even more so considering this one is laced with the word “nigger”. Sadly, this is historically accurate, as the mid-1800’s were a viciously racist time in many parts of America. Candie is a savage representation of the young men who were brought up on plantations, raised into the family business of their fathers, the type of person who molds himself into the best possible version of a terrible person. DiCaprio performs this despicable man in the most terrific way possible, giving his all in a role that couldn’t have been easy. Likewise, though Jackson pulls off a magnificent performance it’s a sad character – Stephen has been bent and broken by white men, turned into a true slave, less free than any of the ones in shackles even while he roams free himself. It’s a wildly entertaining role, albeit tough to watch. Can’t imagine Jackson relished playing him, but in a way it had to be exciting, bringing to life an awful piece of history.
All these people together? How can you not find the cast beyond amazing?
The conversation about Django Unchained is never complete without talking about aesthetics, from sound to cinematography to set design to effects. I won’t bore you too long. Although, certain names need mentioning.
In particular, there’s editor Fred Raskin. His other work as editor includes the recent (and fantastic) Western-horror Bone Tomahawk, Guardians of the Galaxy and others, plus he worked in various editorial positions on films like Tarantino’s Kill Bill films, Punch-Drunk Love, Christopher Nolan’s Insomnia remake, Hard Eight, Boogie Nights, and much more. His editing shows greatly in this one. There are times the way scenes are cut from one to the next are very Tarantino-esque, others it’s typical Western, and some are just odd; it all works. There’s a reason Raskin and Tarantino have worked together several times now. They compliment one another. Bad editing can really kill a movie, and fortunately this one is done well.
Another Tarantino regular, cinematographer Robert Richardson, makes the look of Django Unchained so slick and beautiful. Each sequence is almost done in its own style, but always captured crisply by Richardson. His eye brings to life all the colours of the South, the costumes and the set design all look so vivid under the care of Richardson as director of photography. Many great films have been captured under this guy’s lens from work by Scorsese to Stone. This is but one of those titles.
Full stop, a 5-star film. This is one of my favourites out of the Quentin Tarantino collection thus far, but still doesn’t top Jackie Brown for me. Either way, an amazing movie. It takes on a period of history many Americans would sooner forget. Instead, Tarantino’s whipsmart screenplay goes head-on at all the ugliness. At times it may be tough to digest. Although, the actors take each character and breathe into them a wild amount of life. Everything here is working on all cylinders, from the writing to the acting, to the wonderful aesthetics brought out by all the artists on the production. I cannot recommend this enough. To the naysayers: let them keep naysaying. This is a destined-to-be classic in the Western genre, though it takes place in the South. I’ll always love this movie. When it first came out I saw it several times in the first couple weeks. Can never get enough of Tarantino.
The Hateful Eight. 2015. Directed & Written by Quentin Tarantino.
Starring Samuel L. Jackson, Jennifer Jason Leigh, Kurt Russell, Walton Goggins, Bruce Dern, Demián Bichir, Tim Roth, Michael Madsen, James Parks, Dana Gourrier, Zoë Bell, and Gene Jones. The Weinstein Company.
Rated 18A. 187 minutes.
For me, when I first got interested in film Quentin Tarantino was sort of the guy whose movies everyone talked about. Pulp Fiction was out a couple years before I saw it, then I went back to watch Reservoir Dogs, which blew me away almost even more. Later on I came to love Jackie Brown most of all his work. But Tarantino continually pumps out solid movies, his writing is consistently interesting and full of his charisma. And you can give me all the “Tarantino steals” nonsense you want, ain’t gonna change my mind, gals and goons! Heard it all before. To me, Quentin is the ultimate film lover. Someone I understand. As a fellow cinephile, I see him as a master of the homage and a connoisseur of the world of movies.
The Hateful Eight sees him a little ways down the road from the world of Django Unchained, directing a film filled with exciting Western charm and boasting an interesting ensemble cast with standout performances by Kurt Russell, Jennifer Jason Leigh and Samuel L. Jackson. I’ve seen plenty of other reviews with their nitpicks, their bore with Tarantino’s style. Not me. I loved it. Let me tell you why.
As a white man, I can’t tell you how it feels for black men and women to watch this or Django Unchained. The word ‘nigger’ only gets used about half as much in this film as it does in Django, but god damn if it isn’t a lot. Now, at the same time, this is set in an era just after the end of the American Civil War; a bloody, heated time in U.S. history. Naturally, there were many, many people out there dropping that word on black people ALL THE TIME. I’m not saying it has to be like that on film, but isn’t a huge part of the story about Major Marquis Warren (Samuel L. Jackson) and his feelings about being black in a hellish white world? Come to think of it, isn’t a blizzard such a great metaphor for the type of white trouble at which Marquis finds himself the center? So naturally in an honest, brutal film tackling some racist issues, we’re going to hear the word. Again, I can’t possibly understand how it is for black people when they watch this.
My feeling is this – without spoiling anything for those who’ve yet to see it, The Hateful Eight wraps mystery around a main plot, while we also end up with Major Marquis getting trapped at Minnie’s Haberdashery with guys like Chris Mannix (Walton Goggins), an avowed racist who served in his father’s small but hateful troops, and also the older much more sternly racist former Confederate General Sanford “Sandy” Smithers (Bruce Dern). So a good portion of what happens has to do with Warren and his confrontation with these racists in such close quarters. In fact, we find out Warren and Sanders fought at a battle in Baton Rouge, so it’s almost more intimate with them stuck in a cabin during a raging blizzard than they ever got on the battlefield. I understand it can’t be easy for anyone black to hear the word ‘nigger’.
Although, here’s to hoping bits of Major Marquis and his story help to patch those wounds. He is a great character, a strong, intelligent black man in a vicious time. Jackson plays him to perfection, which is no surprise. A role clearly written with him in mind, but in the best way possible. Lots of typical Samuel L., and at the same time there are extremely subtle moments where his small gestures and pensive attitude make things interesting, as well as tense. Great character, great performance.
Speaking of performances, both Kurt Russell and Jennifer Jason Leigh complete an excellent triple threat of actors at the forefront of The Hateful Eight. Leigh is one of the few women in the movie, but is in the middle of every last portion. Her character is wild, outspoken, she is a woman in a man’s world. Not only is she feisty, she’s tough as hell. Daisy Domergue, Leigh’s character, takes a beating from start to finish, in so many ways. Brutal at times to see a woman receive such violence; then again, Daisy happens to be a murderer. Either way, Leigh was the perfect fit for this role. A mixture of genuine crazy, humour, and plenty of strength.
Perhaps my favourite in the film, even above the amazing performances of Jackson and Leigh, is Kurt Russell as John “The Hangman” Ruth. Everything from his miraculously beautiful facial hair, fitting in with the period piece, to the delivery of his lines, his screen presence. He fills the frame, even when he’s only taking up a third of it. Russell’s a solid actor who brings his talents to The Hateful Eight, in a role that could’ve easily been played by others. Though, no one else would have brought what Russell did. The Hangman is a fun character, he’s a laugh at times, but don’t fuck with him. Russell and Leigh have incredible chemistry, plus he and Jackson do, too.
As an ensemble you’d be hard pressed to find many films rivaling the performance in this one. Tarantino usually brings together an interesting collective on each of his productions. This may be favourite, honestly. Tim Roth, Michael Madsen, Demián Bichir who was lots of fun. Above anyone else, I have to say Walton Goggins knocks the character of Mannix out the park. I’ve loved him since The Shield. Here, he takes his career to another level. Difficult character to tackle, but when he and Samuel L. Jackson share the screen at various points it is true gold. Great casting, even better performance from Goggins whose abilities are on display over and over here.
The look of the film is magnificent. Cinematographer Robert Richardson has done a TON of amazing work, from Oliver Stone’s Salvador and Platoon, as well as Natural Born Killers and the criminally under appreciated Nixon, the fascinatingly weird U Turn to work with Scorsese on Casino and Bringing Out the Dead and later The Aviator, Shutter Island and Hugo. He’s worked with Tarantino already on Kill Bill and Django Unchained.
Richardson brings his brilliant eye to The Hateful Eight making the Wyoming winter come to us in vivid white, the stark mountains sitting among it all, capturing the characters and the stagecoach at the start with such a raw beauty. Then after Tarantino’s tight screenplay moves into the cabin of Minnie’s Haberdashery, the way Richardson brings to life the spirit of the Western all while staying within those four walls, rarely stepping back outside at all, it’s genuine cinematic magic. Love the way everything looks and feels.
Add to that Ennio Morricone’s score, and things become classic. There is plenty of that good old Western feel we expect to come from Morricone, then there are bits and pieces of other scores he’s done – for instance, parts from Exorcist II are dropped in, as well as unused score Morricone did for John Carpenter’s The Thing (which Tarantino admittedly modeled this film after). Even further, Morricone gives us these foreboding pieces that rock us, right from the beginning as the stagecoach toughs through the Wyoming wilderness, a half snow covered Jesus on the cross at the fore of the shot, right in our faces. Plenty of great moments where Morricone’s music lifts Tarantino to that otherworldly place many classic Westerns now exist.
A 5-star film. At three hours and seven minutes, The Hateful Eight was fun from beginning to end. There were parts I expected, which were still great, and others I did not expect, even greater. Quentin Tarantino brings to life a universe he similarly existed in with his last film, only this time a little past the Civil War and the end of slavery. Though, as we see and know already slavery was almost only the beginning of America’s race issues and thoroughly awful problems. With a bunch of stellar performances, the characters of Tarantino come alive in their own ways, each with their particular quirks and personalities. Further than that, the way this story ends up is surprising, and extremely enjoyable. With all the talk of race in the U.S. today, especially with a rash of terrible killings by the police in America this past year or more, The Hateful Eight may or may not have things to say; you’ll have to ask a smarter, more qualified person than myself, an African American man or woman who knows what it’s like to be black in America, as Major Marquis does.
Nevertheless, I loved this movie. I’ll see it again, maybe in theatre. Definitely snatching this up on Blu ray when it’s released, adding to my complete collection of Tarantino directed and written films. See it on the big screen – the visuals and the sound are out of this world.
Bone Tomahawk. 2015. Directed & Written by S. Craig Zahler.
Starring Kurt Russell, Patrick Wilson, Richard Jenkins, Sean Young, Lil Simmons, Zahn McClarnon, Matthew Fox, David Arquette, Kathryn Morris, and Sid Haig.
Caliber Media Company.
Rated R. 132 minutes.
★★★★★ This is a movie I’ve waited a long time to see. Ever since I even heard the name, it intrigued me. In fact, I believe writer-director S. Craig Zahler actually wrote the screenplay about 8 years ago or something crazy like that. So for those of us who follow projects from their early stages in development, this is one of those titles people like myself have eagerly awaited. Then, once Kurt Russell, Richard Jenkins, Patrick Wilson (and more) signed on, a year or more ago, the project had me beyond excited.
Westerns can be amazing, if treated properly. There are lots of them out there. Recently I discussed this very same thing while reviewing the Mads Mikkelsen-Jeffrey Dean Morgan Western The Salvation, a film I personally enjoyed. But so many sad, half-hearted Westerns come out, like horror. Part of why I loved Bone Tomahawk is in part because of the blend between horror and Western, two genres of which I’m a huge fan. I fell in love with horror through literature first, then film. Westerns I came to through my grandfather, whose membership to Columbia House and love for John Wayne/Gary Cooper shaped part of my early film viewing life. With a packed cast – including the god damn man Kurt Russell, the chameleon Richard Jenkins, and Patrick Wilson who has talent out the ass – Bone Tomahawk makes the most out of both its Western and horror elements, while not having to fall into every last trope from either genre.
It’s safe to say, this is another modern Western I’ll definitely be adding to my personal collection.
It’s hard to deny the nasty brutality of a movie like Bone Tomahawk. Particularly when the opening scene has David Arquette’s character cutting a man’s throat; not even efficiently, he slits once, slits another time. After all that, Buddy (Sid Haig) has to finish the man off, crushing his skull. The first two minutes set the tone perfectly. These two men are just killing and robbing, savagely murdering men for nothing more than some books, trinkets, who knows what else – nothing too great. Zahler conjures up a grim atmosphere immediately. Even in the sun baked landscapes Benji Bakshi (who also did the cinematography for the interesting indie Some Kind of Hate recently out) captures there is such an undeniable grimness, it lurks everywhere and casts over every little thing. Then there are the interiors, the Western sets captured in all their gorgeous grittiness.
The string score accompanying so many beautifully realized shots and sequences is fitting. One scene really catches me – as the group of four first depart, there’s a great shot of them all riding and the strings have such a heartbreaking feel. Seriously: this shot belongs in the hall of fame. I can’t shake it. Almost like it foreshadowed every bit of darkness and horror to follow later on, a foreboding moment in time. All the music is courtesy of multi-talented Zahler and Jeff Herriott, whose only feature film surprisingly is this one. Needless to say, they’ve done well. The music adds an extra layer to specific moments, which intensifies things perfectly when required; exactly what a proper score ought do.
Even further, I loved the set design itself, the look of everything. All the main characters were well costumed. I loved Matthew Fox and his get-up, especially one scene when he straightens himself out, putting on his cap then leaving the saloon; amazing. But just little things like the lamps in the bedrooms, the pictures on the walls, so many fine touches such as these made scenes eye-catching. Then the lighting, all around, is perfect. It’s easy for a Western to throw you off nowadays if modernity creeps in too much. Honestly, though, this movie does so well creating the late-1800s atmosphere – the low light of the lamps inside and out around the town, dust/sand battered windows, old bottles of medication and all the pictures, various items on the desks and bedside tables. Such good attention to detail.
Sheriff Hunt: “Ask me about horses again n’ I’ll slap you red”
I love the plot and story of Bone Tomahawk. It’s at times funny, not even darkly but just worthy of a chuckle. The characters are original without being forcibly quirky, also without falling too deep into Western cliche. Furthermore, there’s the aspect of the troglodytes; the fact Mrs. O’Dwyer (Lili Simmons) is the doctor and not as it usually is in the genre a man; Zahn McClarnon plays a Native man whose status among the town isn’t of the lower sort (he wears an awesome suit); and so much more. The dialogue doesn’t come off as someone trying hard to create a Western. Lots of Westerns do fail because their entire style is forced, it doesn’t feel or sound natural when the dialogue is spoken. Yet Zahler writes this well, he’s someone I’ve enjoyed before: Asylum Blackout, to my mind, was a lot of fun and a nice dose of solid horror. Apparently he does well writing about the turn of the century in America, the slow tail end of the Wild West, so it’s easy to see where his talent lies watching this film.
Big favourite of mine here, character-wise, is absolutely John Brooder, played so finely by Matthew Fox; his charm is undeniable, even at times when you’re unsure whether or not he’s being too brutal. The scene with his horse, you’ll know the one – among all the other viciousness of the movie, this actually gets to me emotionally. To see Brooder, uncaring about anyone else other than those around him to which he’s loyal, so upset over the horse is that from which Western heroes are made. And Brooder isn’t the only good character, he’s simply my personal pick. They’re all awesome. Kurt Russell and Patrick Wilson in their own respects are also serving the film well here. Wilson’s character is so sympathetic, to watch him try and make it over the rough terrain out to find his wife, all too often hobbling far behind his companions, it’s actually devastating at times. Russell is, as usual, a hard yet smart tough guy, and his facial hair is fucking out of this world. He plays the Wild West sheriff role with plenty of smirky goodness, as well as with the aforementioned tough exterior.
I’ve got to at least make small mention of Richard Jenkins. He gives an interesting performance as the dim-witted but staunchly loyal sidekick to Russell’s Sheriff Hunt. Even the voice Jenkins puts on, it’s much different from many of his other previous roles. Quality acting all around for this movie.
Sheriff Hunt: “What time is it?”
Chicory: “It’s about nine. But it feels like next week.”
On top of everything else I love so much here, the horror is supremely vicious. In the best sort of sense. Right off the bat with that scene including Haig and Arquette, there’s so much visceral horror happening. For a while, this stuff almost leaves your mind. There are a few ugly bits on the way to the last 40 minutes, such as Arthur O’Dwyer and his leg, the few shootings and a bit of stabbing. But it’s only once the four men on their journey come across the troglodytes and their cannibalism when things get awfully bloody, gory, and downright savage in its bestial nature. Great stuff, in terms of intense horror. Plus, it’s not a CGI-laden piece of work. Zahler doesn’t opt for a bunch of fake looking blood. Instead there’s a wealth of nice practical work here. Also consider that the movie’s budget is estimated under $2-million, so that’s actually truly impressive, like crazily impressive. When so many horrors, and lots of other genre films, fall into the trappings of computer generated boredom, there’s something to be said for a well crafted film crossing Westerns with horror that sticks to practicality.
Sheriff Hunt: “We’ll make sure all this has value”
5 star film. To the bone.
It’s not often these days with newer films, other than maybe a couple handfuls every year, I find myself glued to the screen. But finally having the chance to watch Bone Tomahawk, my attention was captivated from the opening sequence right to the final frames. There is everything here – the tried and true Western feel, a gritty sense of the Wild West, cannibalism, the at times scariness of horror movies, Richard Jenkins and Matthew Fox in finest form among a cast including other solid performances from Patrick Wilson and Kurt Russell. The adrenaline begins to flow full-on around when the last 43 minutes start descending upon you. Everything prior sets up all the atmosphere and tone necessary for the story to thrive. Everything that follows will keep you reeling, long after the credits roll. See this, or miss out on an innovative Western. Another I can easily say is one of the best in the genre I’ve seen over the past decade or more since the last big, great Westerns like Unforgiven and Tombstone.
The Salvation. 2014. Directed by Kristian Levring. Screenplay by Anders Thomas Jensen & Kristian Levring.
Starring Mads Mikkelsen, Eva Green, Jeffrey Dean Morgan, Eric Cantona, Mikael Persbrandt, Douglas Henshall, Michael Raymond- James, Jonathan Pryce, Alexander Arnold, Nanna Øland Fabricius, Toke Lars Bjarke, and Sean Cameron Michael. Zentropa Entertainments/Forward Films/Spier Films/F.I.L.M.S./Det Danske Filminstitut/Danmarks Radio (DR)/Nordisk Film & TV Fond/Film i Väst/Department of Trade & Industry of South Africa/MEDIA Programme of the European Union/Nordisk Film Distribution/TrustNordisk. Rated PG. 92 minutes.
I haven’t had a chance to see Kristian Levring’s Fear Me Not, starring one of my favourite actors Ulrich Thomsen. So prior to The Salvation, I’d never experienced any of his films. Two reasons I came to this film: i) it’s a Western with Mads Mikkelsen, & ii) Anders Thomas Jensen co-wrote the screenplay with Levring; I am a huge admirer of Jensen’s films, all of which feature Mikkelsen (Flickering Lights, Adam’s Apples, The Green Butchers, & most recent Men & Chicken), as well as the fact he’s written other great movies like the fabulous and touching In a Better World.
For a long time I’ve loved Westerns. There are a flood of them out there. Although, if you search through them well enough all the cream will rise to the top. The classics will always reign on high, such as Once Upon a Time in the West, The Searchers, High Noon, The Man with No Name Trilogy; then we’ve got the more contemporary, now classics like Unforgiven, The Proposition, Tombstone, and in my mind The Assassination of Jesse James by the Coward Robert Ford. So there are no shortage of Westerns, nor is there a lack of masterpieces in the genre. That being said, there are many typical Westerns, cliched to bits. Others, while not bad movies, just seem uninspired.
Along comes The Salvation. This film, from screenplay to actual screen, takes on the Western in familiar tones. But all the same, Levring and Jensen’s script tackles a Western revenge tale with an innovative twist, fresh eyes, and from a very emotional standpoint. Not to mention there are plenty of ways you can parallel this tale of the supposed American Dream in the minds of foreigners to the struggle many face today. This is a great film, it is beautiful to look at. Above all else, the actors each play a huge part in making the film come alive and raise the bar for the modern Western genre.
Danish-American settler Jon Jensen (Mads Mikkelsen) has been in the Land of the Free for a while now. He and his brother Peter (Mikael Persbrandt) have learned the language, they’ve tended their own land and looked out for one another. Plus, they seem to be integrated into the community. However, things change drastically for Jon especially once his wife Marie (Nanna Øland Fabricius) and son Kresten (Toke Lars Bjarke) finally come to live there with him.
Upon their arrival, Jon takes his family by coach back to their home. Along the way, two men, Paul (Michael Raymond-James) and Voichek (Alex Arnold), accost Jon and his family. The conversation starts as only that, conversation, but the tone changes soon enough and the two strangers take Jon’s wife/boy hostage. Kicked out of the coach, he tries to run after them. Jon comes across the murdered corpse of his son. Then further down the road, he finds the coach – one man rapes his wife while the other takes watch outside.
After taking his violent revenge against the murderous rapists, Jon finds himself at odds with the local gangster Henry Delarue (Jeffrey Dean Morgan), whose brother happens to be the aforementioned Paul. When the entire town turns their back on Jon, only his brother Peter stands by his side. That is, until Delarue’s men do the unthinkable to him, as well.
Standing against the insurmountable forces of Delarue and his henchmen, Jon Jensen is forced to take arms in order to have his revenge, or die in the process.
If you’re not immediately floored by the whole opening sequence (about the first 20 minutes), then I’m not sure what would affect your sensibilities. Fact is, without showing too much director Kristian Levring creates so much suspense, a thick and undeniably nasty tension, which drew me into the film’s world so savagely it honestly took me awhile afterwards to come back to my senses. Not only is the direction great, as well as the writing between Levring and Jensen, Mads Mikkelsen – a long time favourite of mine since his turn in Nicolas Winding Refn’s Pusher & Pusher II: With Blood on My Hands and recently his work as Hannibal Lecter on NBC’s unusually amazing series – performs his character’s anger and woe so subtly it’s impossible to turn away from the power. I’m not trying to pit American v. European v. anywhere else actors here, not at all. However, there are certainly some (North) American actors who come to mind that are very exuberant, almost too much so at times. Especially when it comes to revenge styled movies, such as this one. For instance, even though I’m a Sean Penn fan (as an actor; not so much as a person), and I love his turn in the movie, Mystic River contains a pretty wild performance out of him – not at all times, though, in some scenes he is very much going heavy. Whereas in The Salvation, right out the gate, Mikkelsen delivers so much intensity and heartache without having to do anything overtly emphatic. He simply acts with all the emotion in him available, just seeping it out of his skin; the look on his face, his body language, the bunch of bullets he pumps into his family’s killer even after the guy is dead. And like I said, these are only the first 20 minutes (19 and a half if we’re getting specific). From there on in, Mikkelsen has lots more to do, and does it to near perfection.
Then we’ve also got Jeffrey Dean Morgan, whose performance as the big bad in this Western comes as a surprise to some. Not to me, though. Even while I’m not a huge fan of the Watchmen adaptation (it’s real good; just not as good as it should/could have been), Morgan impressed me as The Comedian. Also, my girlfriend watched a bit of Supernatural, and I found him pretty good in that. Then in the mediocre movie Texas Killing Fields, he was one of the only things I actually enjoyed a nice deal. But some people seem him as this good guy type. Maybe I’ve not watched enough of Morgan to feel that way. I see him as a guy with a dark side, even though I think he has good range. So here, in The Salvation, I was pleased to see him in a truly outright bad guy role. It doesn’t take long to figure him out, but not in a transparent way – you just feel how mean the dude is, right from his first appearance. It only gets more unpredictable and even more nasty once Morgan shows us how brutish his character Henry Delarue can become, to what level he’ll sink. Again, though, I have to say Delarue isn’t someone I could predict. There’s a moment, just before the half-hour mark (so much intensity so early), where you’ll understand exactly what I mean: I saw parts of it coming, but how he ends this confrontation is spectacularly harsh, and I couldn’t have imagined he was so cold. Not only is Delarue a bad, low man, he does have a tough presence, one of both physical and mental strength. It all sets the stage for an excellent showdown coming between Mikkelsen’s Jon Jensen and Morgan’s Henry Delarue.
Apart from the acting, Levring’s direction is what makes this film so special. Cinematographer Jens Schlosser provides us with lush visuals, from the wide open plains of the old West to the tighter, more personal scenes involving the characters and the well written dialogue of this screenplay. Schlosser has worked with Levring before on Fear Me Not, as well as served as Director of Photography on Amy Berg’s excellent/heartbreaking documentary Deliver Us from Evil (see it: an important piece of work). I find this one of the most visually exciting Western movies in recent times. John Hillcoat’s The Proposition is another amazing to look at Western from the last decade, though, that one has a gritty, more rough aesthetic. Regardless, I think this movie’s visual beauty has much to do with the emotional intensity and darkness of the subject matter/the performances. There’s a perfect contrast between how pretty the movie is and how devastating its plot and story are, it is a masterful bit of work from every angle.
Once more, I mention the script. So many revenge films are the same, just as Westerns often end up seeming after you’ve seen a ton. While The Salvation is typical in certain senses (rape-revenge setup), there are many ways in which it is not. For instance, like I mentioned earlier in my review, Levring doesn’t go and show everything full-on. Yes, much of the violence is pretty well spelled out in front of us. But I think the early bits, the rape of Jon’s wife, the murder of his boy, they were handled very well. I was very much expecting us to have to actually see Paul/Voichek humping Jon’s poor wife. Though, instead we get to see most of the after effects. This movie doesn’t glorify sexual violence, even if rape is at its core as a plot device/element. The effects and the revenge are the main point, that’s why everything brutal and nastily violent comes so early; literally, the first twenty minutes gets almost all of it out of the way, in terms of the injustice done to Jon’s family. We get lots of violent stuff after this point. Simply, it’s notable how Levring/Jensen go a different route than most would in this case. They still stick very much to the rape-revenge model, they’re just not relying on all its tropes and cliched moves to make things work. Furthermore, setting this is all in the context of Danish settler in America v. “born n’ bred” Americans is an interesting aspect, which you’re not always going to see except in a few other choice films of the genre. All in all, I’m amazed with the screenplay because I found myself unsure exactly of how things were heading to play out. Best part of the plot and story of The Salvation is how subversive it came across at times.
With a big Wild West showdown near the end that can rival some of the best, The Salvation is most definitely a 5 star film. It has guts, plus brains. Even better, the directing from Kristian Levring downplays the usual focus on the rape in order to get to the revenge. Instead, he opts to show us the savagery of the revenge at the other end on top of the heightened emotions from all the characters involved. And at times you’ll find yourself wondering exactly what is about to happen next. With the stellar performance of Mads Mikkelsen in the lead role, alongside Jeffrey Dean Morgan, Eva Green and Mikael Persbrandt in awesome roles respectively, this is a Western you can’t afford to miss. It has all the greatness of any other revenge-thriller, the heart and soul of a perfect drama. Not to mention it’s one of the best Westerns of the last two decades.