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Reviews
Open Range (2003)
Swiss Chocolate, Cuban Cigars & American Justice
Cinematography by J. Michael Muro shows off the scenic Alberta range land, specifically, the Stoney Indian Reserve. The score was also dramatic and emotional.
Kevin Costner is both director and actor in the role of Charley Waite, an expert killer who fought in the Civil War. He delivers a quiet and sharply observant man with more layers than one might expect. Costner's direction and storytelling is riveting with the 2 hours 20 minutes feeling like a breeze. Robert Duvall's grizzled Boss Spearman is both friend and mentor to those around him. Sue (Annette Bening) gives a good performance and her chemistry with Charley was natural. To be honest, every actor from lead to small feels like they have purpose.
Craig Storper's screenplay was based on Lauran Paine's 1990 novel The Open Range Men. It's better than average and has some genuinely comedic moments.
The only qualms I have with this film is that the dialogue was a little choppy in the beginning.
Overall, this is a very good western. It has everything you need; commanding villain (Michael Gambon), complex but honourable avengers, realistic action sequences, a hint of romance and stunning vistas. It takes all the cliches and makes them meaningful.
Rio Bravo (1959)
Hey, Sheriff, You Forgot Your Pants
Directed by Howard Hawks with screenplay by Jules Furthman and Leigh Brackett, this film demands two and a half hours of time to watch. The tumbleweed lazily rolling across the road from one street to another suitably depicts the pacing of the first half of the film. However, the comedic relief throughout is well done, as well as the verbal sparring between John T. And Feathers.
Russell Harlan's cinematography does not follow the typical Fordian display of vast
Western visas; the contours explored here are emotional, a gruff man lamenting the demise-and hoping for the rise of his alcoholic friend, or a woman choosing the underdogs because she feels the pull of something other than her own survival.
Dimitri Tiomkin's score is well done. The Mexican "Cutthroat Song" makes use of the haunting trumpet, whereas the main theme evokes a frontier spirit. Furthermore, contrary to many opinions, I thought the musical interlude of Martin and Nelson's was quite enjoyable.
John Wayne's Sheriff John T. Chance has a commanding presence with his unspoken authority and his dominating 6'4" frame.
Dean Martin as Dude the recovering depressed alcoholic tough guy who surprisingly has more layers to his character than one might initially expect.
Ricky Nelson brings a fresh-faced streetwise Colorado Ryan.
Angie Dickinson's Feathers is a saucy, sharp, cunning but warm-hearted competent lady gambler accustomed to sparring with men.
Walter Brennan as Stumpy goes OTT on corny monologues and the grating voice. However, after the harmonica and singalong scene, his character becomes more likeable and genuinely comedic.
I also liked the fact that two integral characters were played by Mexican-American and Cuban actors Pedro Gonzalez Gonzalez's Carlos Robante and Estelita Rodriguez's Consuelo Robante. Not only is this historically accurate for the region, but they weren't limited to stereotypes and were given fully-realised parts.
Overall, I think Rio Bravo is quite overrated, however, this does not mean it is not good. The first half is a drag, but the second half is engaging. This western is entirely driven by the characters rather than the plot and is simultaneously the zenith of classic Western style, with its scrupulous violence in defence of law, and an eccentrically distorted work of modernism, which yokes comedy and rawness to the mission.
3:10 to Yuma (1957)
So You're Quiet Like Me. Well Then, Shut Up Like Me
The first black & white western I have seen.
Director Delmer Daves delivers quiet desperation in the first half of the film, and utilises psychological drama in the second half. Based on the short story of the same name by Elmore Leonard in 1953.
Halsted Welles screenplay displays lots of verbal sparring between the two mains. George Duning's score opens with Frankie Laine's mid-tempo vocals of regret and longing accompanied by strings, horn and trumpet. It is not the most memorable for me, but suits the film's atmosphere.
Cinematography by Charles Lawton Jr. Is in black & white highlighting the melancholy scenery and film noir-esque themes; echoing unorthodox camera angles, macabre images and the fascination with light & dark.
Glenn Ford's notorious stagecoach robber, Ben Wade, is charismatic and indifferent, shooting his way through the 1880's Bisbee, Arizona frontier. Whereas, Van Heflin's Dan Evans is honest and fair. Initially, Wade views Evans as a simple but money-desperate rancher, however, he later realises that they are more akin to two sides of the same coin. They are both intelligent and determined, with only difference being that Evans has more conviction, whilst Wade is more cunning. By the latterly stages of the film, Wade's respect for Evans grows along with his own character development.
Overall, 3:10 to Yuma is a suspenseful duel of character between two very human characters; charismatic rogue and insecure rancher. The film's compositions evoke claustrophobia. Furthermore, themes of duty, self-respect and justice remain very prevalent throughout. Good solid western.
The Professionals (1966)
The Generic Professionals
Director Richard Brooks 1966 film, set in 1917, is definitely full of earthy machismo with its salty dialogue and dark characterisation.
Maurice Jarre's score is efficient but provides nothing memorable.
Richard Brooks' screenplay is sometimes effective in displaying a detonative battle of morals but otherwise falls short.
Conrad L. Hall's cinematography showcases the numerous filming locations (Lake Mead, Death Valley & Valley of Fire, Mexico) and turns what was barren landscape into picturesque paintings.
The hotshot quartet of professionals consists of an athletic Burt Lancaster (Bill Dolworth; explosives expert), stoic Lee Marvin (Rico Fardan; weapons specialist), rugged Robert Ryan (Hans Ehrengard; horse wrangler) and powerful Woody Strode (Jake Sharp; Apache scout). Jack Palance as Jesus Raza the Mexican bandit leader and Claudia Cardinale as Maria is reminiscent of Homer's Iliad & Odyssey as Paris and Helen, where Ralph Bellamy's rancher, Grant, acts as Menelaus. Following this theme, the quartet of famous Greek warriors burn down Troy (Raza's fortress).
The only downside to this film is the (albeit tame) female nudity. In my opinion, it adds nothing to the story and I'd rather not watch pointless vulgarity. Call me a prude, but it is just my preference. Another aspect is that contrary to the film's setting, the actors look very 60's and Cardinale could be mistaken for a heavily made-up gerbil.
Overall, the film has an air of cynicism and values characterisation over action, yet it still conforms to Hollywood's usual adventure narrative structure. However, neither the stunning vistas nor the star-studded cast can save this film from being a competent but slow and rather dull western.
Rooster Cogburn (1975)
Bibles and Guns
Katharine Hepburn as Eula Goodnight and John Wayne as Federal Marshal Rooster Cogburn are two of the strongest presences in cinematic history. The latter is rough, bombastic and colourful, whereas Hepburn presents a witty, confident and courageous woman. They are perfect counterparts.
The only downside is that their roles and the movie are quite reminiscent of "The African Queen" and "True Grit," almost ripping-off their own finest moments in cinema. Yet, I disagree with critics saying that they were too old for their roles, in fact they were in perfect form.
Martin Julien's screenplay is comedic and the verbal sparring between Rooster and Eula was engaging. Stuart Millar's direction is a little sluggish but sufficient enough. This film steps away from the harder edges of "True Grit," and plays it safe with established genre elements, a broad villain, formulaic plots and picturesque Oregon locations.
Overall, the film may have many flaws but this does not make it any less entertaining, to me, anyway. After all, it is not everyday that we see Katharine Hepburn wielding a gatling gun. I give this film 7 out of 10, it's underrated.
The Shootist (1976)
The Duke's Last Shoot
Don Siegel's direction reveals a theme of sensitivity, contrary to his other films like "Dirty Harry", along with sombre pacing. Elmer Bernstein's score is also very fitting.
John Wayne as terminally ill sheriff turned gunslinger, J. B Books, in his latterly years, is sadly similar to his own real life situation.
Lauren Bacall as the widow Rogers and James Stewart as Dr. Hostetler were perfectly cast and act as links to the legendary cinematic past of Wayne.
Overall, this film is a cinematic epitaph to a Hollywood legend. While not action-packed, it's emotional and powerful with some comedic moments.
Bend of the River (1952)
Biscuits, Wagons and Redemption
Anthony Mann's "Bend of the River" is based on William Gulick's novel "Bend of the Snake". Borden Chase's screenplay is smooth and efficient. Irving Glassberg's cinematography was spectacular and showed off the stunning views.
James Stewart's Glyn McLyntock and Arthur Kennedy as Emerson Cole were perfect. They were the embodiment of yin & yang. McLyntock seeks redemption as a reformed outlaw, whereas Cole succumbs to greed and corruption. Stewart brings a unique brand of masculinity to the role as he is not overly physical, arrogant or stoic. He didn't ooze machismo but his presence was strong. Kennedy, on the other hand, has more charm and subtly presents less morality. The dynamic delivers a strong theme of the choice we all have to be "good" or "bad"
I do not see the point of Rock Hudson's character as the film would be just the same without his role. The first half of the film can also be a little slow. However, these are the only downsides to the film, in my opinion.
Many have said that the plot is weak or predictable, but contrary to this there is no predictable or clear notion of the "villain" or narrative of "cowboys vs. Indians". This film does not conform to the usual formula despite including all things classic western (wagons, punch-ups, betrayal, shootings & romance)
Overall, Bend of the River is an underrated gem. It's entertaining, a little different and it's packed with a talented cast.
The Undefeated (1969)
Underrated but Undefeated
Morally, the film is exemplary; the theme of post-war reconciliation and the unorthodox love between a Cherokee and a Southern Bell was executed well. Furthermore, it is technically adroit and provides wonderful panoramic vistas, genuinely funny moments, some heart-warming scenes and witty dialogue to boot.
Hugo Montenegro's score is also memorable and fitting.
The unlikely pairing of John Wayne as Union Col. John and Rock Hudson as Confederate Col. James worked extremely well, both as actors and characters. Wayne's character was more cheeky than rough, and Hudson brought an easygoing charm to his character which made them both likeable.
The conflict was always in flux, neither too brutal nor too amicable which all comes together in the entertaining 4th July brawl which was one the film's best scenes.
I thoroughly enjoyed watching this film. The comedic scenes genuinely cheered me up and the story was engaging. While some may argue (and yes, I do kinda agree) that the plot is akin to melting down a few pounds of biscuits & gravy then funnelling it down your throat. AKA it's an in-your-face "we're all Americans in the end" narrative. But, this doesn't stop the film from being entertaining.
Gunfight at the O.K. Corral (1957)
O.K but not Legendary
Directed by John Sturges with the script written by novelist Leon Uris equals a solid but simple Western. For 1957 standards, it's fairly violent.
Burt Lancaster as the legendary lawman Wyatt Earp and Kirk Douglas as morally ambiguous Doc Holliday make a surprisingly great pairing against the Clanton gang, as both actors and characters.
Kirk displays many layers to Doc which makes him the most interesting character in the film. His flamboyance can be likened to being the Hamlet of Western film. On the other hand, Lancaster came across as slightly one dimensional and Wyatt's relationship with the lady gambler (Rhonda Fleming) was stiff and sudden.
Overall, it's quite generic and does not add anything to the genre nor is it historically accurate. However, it is an entertaining film for the most part.
Joe Kidd (1972)
No Kidding...
Clint Eastwood plays the titular former bounty hunter who's a competent lout. Basically, his typical laconic, lanky, squinty cowboy role but less impressive and more "human" in his abilities.
John Saxon's Luis Chama appears to be an attempt at a Che Guevara-style role but in reality is a white-washed bandito who does not appear much throughout the film, which is surprising given the fact that he is the cause behind all the chaos and excitement.
John Sturges' direction is sufficient but persists with a feeling of subtle restraint. Elmore Leonard's script is nothing to rave about; compared to other films, it's very simplistic. Bruce Surtees cinematography highlights the scenery of Arizona and California very well and Lalo Schifrin's score is fitting. However, nothing stands out.
The pacing felt rather slow at first, yet the ending felt rushed. As a whole, the plot kind of meanders throughout.
Overall, 1972's Joe Kidd may not "redefine the genre" nor add anything new to it, but it still delivers on satisfying basic entertainment. I rate this film a 5 out of 10 to express mediocrity.
Pale Rider (1985)
Eastwood's Pale Homage to Ladd's Shane
The scenery is stunning with a rich colour scheme. I liked the plot but it is fairly cliché and it is not something many would find gripping. The verbose script teeters on tedious but manages to remain tolerable. The pacing is rather slow, overall, yet the slowly paced and layered score was pulled off well.
Clint Eastwood is obviously the Director/Producer in Pale Rider as his character is lusted after by both the mother, Sarah (Carrie Snodgrass), and her teen daughter Megan (Sydney Penny). The former of which, Eastwood's character, Preacher, spends a night with. Meanwhile, Hull (Michael Moriarty) is unbeknownst that the woman he loves feels this way. This did not sit comfortably with me.
The best performances in this film were of Moriarty and Penny, everyone else came across as rather one-dimensional.
Eastwood is squintier than he was in The Good, The Bad, and The Ugly and in similar fashion to High Plains Drifter, he embodies elements the supernatural whilst remaining unnamed.
The cinematography is good, but it creates a predictable nature to some of the scenes ie. When Stockburn's men are killed by Preacher during the film's finale. Speaking of which, the big company miners and Stockburn's men are presented as dimwitted and amateurish contrary to what they are meant to be (corrupt wealthy foes and cold-blooded killers). As such, the finale itself feels watered down, lacking any real suspense.
Overall, whilst entertaining, it is not Eastwood's best. It is a film I'd expect to see on Channel 5 TV rather than one considered a "cult-classic". I would watch it again, yes, but it pales in comparison to stronger Westerns like Leone's trilogy or Wyler's The Big Country . Therefore, I rate this film 5 out of 10 to express mediocrity.
The Big Country (1958)
Big Country, Big Stars, Big Score, Big Movie
While some aspects of the plot are predictable - Jim and Julie being paired together & the wedding with Patricia being called off - the film is far from being formulaic in terms of "Good vs. Bad", as contradicting moral codes and ambivalence subtly saturates the narrative. Between the two feuding cattle barons, neither is more righteous than the other.
Gregory Peck was definitely the most suitable choice for Jim. Initially presented as a dewy-eyed city boy, he is convincingly revealed to be highly underestimated and a man who will not compromise his own morals to please others. Charlton Heston, on the other hand, displayed the blind loyalty, jealous, rough and troubled nature of his character, Steve Leech, very well - an excellent adversary for Peck's calm and gentlemanly McKay.
Chuck Connors as the angry, devious and whimpering Buck Hannassey was well performed. However, as many say, Burl Ives as patriarch Rufus Hannassey was spectacular. Jean Simmons lit up the screen with her charm as the intellectual youthful school teacher, Julie Maragon; the only shame is that she flies under the radar for half the movie.
The message is obvious in that a calm and gentle nature does not necessarily mean delicate and inexperienced; one should not judge another by their cover, as it were. Furthermore, the film expresses how the land in which a person lives, can have immense influence over people as well as how easily we humans lean toward our most primitive natures when assets are on the line.
Jerome Moross' score is excellent, the script has no fault, the cinematography was stunning and all the actors were brilliant. Reflective of the film's name, Wyler frames much of the action in large vistas. Overall, William Wyler's "The Big Country" is one of the best Westerns I have seen.
The Unforgiven (1960)
Unforgivably Overlooked
From the very beginning, the film had large shoes to fill. Its screenplay was based on Alan Le May's 1957 novel - of the same name - who penned many short stories that were often set in the American frontier. While the novel may have been an introspective work on the caustic power of mans' bigotry, its cinematic adaptation is toned down by the varying visions of Huston and the producers.
Yet, I do not agree with the majority of reviewers saying that this film completely failed in expressing its racial relations themes between the white settlers and Kiowa Indians. Rachel had a decision to make that was hers and hers alone. Neither the Indians nor the settlers were more righteous than the other.
The panoramic shot of the unspoiled countryside at the beginning of the film, instantly draws you in. You are immersed in the setting of what life was like in the American Frontier. Franz Planer's cinematography had a natural feel to it, making it seem as if you were more than just a casual observer of events. As such, this up close and personal perspective allows you to grow closer to the characters. Despite this, the film still lacks the dramatic impulse that would have pushed into becoming a great picture.
The veterans of this ensemble: Lilian Gish, Charles Bickford, and Joseph Wiseman gave excellent performances as expected. Burt Lancaster and Audie Murphy were also excellently fitting for their roles.
Many have found it unexpected that Audrey Hepburn was cast in The Unforgiven, a film that was a considerable departure from
the her more light-hearted romantic comedies. To me, however, Rachel was a dreamer who saw the best in people. These characteristics stem from the sheltered environment in which she was raised but also from her natural, generous nature. This makes Hepburn the most suitable choice for this role, in my opinion, and I could not see anyone else filling this role. I also admire her dedication in finishing this film despite the huge setbacks she faced. Hepburn was a fighter, reflective of the character she portrayed.
The film ends appropriately as it began; no flashy farewells.
Overall, I rate this film a 7 out of 10. The first time I watched it, I didn't think much of it at all. However, now I have watched it again, I enjoyed it a lot more.
Tenet (2020)
Cerebral Spectacle But No Masterpiece
Christopher Nolan is a master of lateral thinking and has set up the audience to believe in the non linear pattern as the new normal.
Some prerequisite's to watch this film:
1. Have basic knowledge on metaphysics
2. Understand the basic principles of Entropy and the Grandfather Paradox
Nolan pushes his limits with the time manipulation premise. However, much of the movie feels rather rushed; the story becomes convoluted and cryptic.
John David Washington as the
"protagonist" was a complete mistake. Every line felt like he was practicing in the mirror. The delivery was so unnatural that JDW is practically sleepwalking through the film.
Robert Pattinson was fantastic as Neil, and I could easily see him being a more suitable option for the role of the Protagonist.
Elizabeth Debicki's character carries the emotional weight of the story, but it seems detached from the main idea.
Despite investing in hoary cliches like "If I can't have you, no one will" Kenneth Branagh displays his aptitude for bad guy roles yet does not blow the audience away with his performance.
The majority of the dialogue, character development and key plot points are delivered at breakneck speed. The BGM as a whole is obnoxiously cranked up to full volume and tempo, in all the wrong places.
Tenet ends up being too clever for its own good. The "gimmick" in the story is expressed through the conceit of "inverted" objects, objects sent back in time and which - upon arrival - somehow run backwards in contravention to normal entropy. Thus, a bullet might leave a hole in a glass before it's fired or a car might find itself flipped on a road before it's flipped. In a story that is ostensibly grounded in reality, it just cannot come across as plausible.
The film's final set piece doesn't make as effective and engrossing use of the time manipulation mechanics compared to earlier scenes, which ends the film on a rather flat note.
The "final battle" scene is confusingly pointless. Who is the enemy? Where is the enemy? It is not clearly explained that they were fighting to complete the algorithm so that those in the future could come back to the present, since the future has been destroyed by climate change. The future would then fight the present (who they blame for climate change) resulting in WW3, which is what the Protagonist initially thought the mission was.
Overall, Tenet is not Christopher Nolan's masterpiece, but it is another dramatic entry into his canon. The pseudo-science in this film is HEAVY on the pseudo, and very light on the science. Tenet is very formulaic, as its action scenes, aesthetics, narrative, etc. Were quite reminiscent of Nolan's prior works. However, I appreciate and applaud how Nolan does not solely rely on CGI.
Middle-Earth: Shadow of War (2017)
The Pros do not outweigh the Cons
Basically, do not buy this game if you play for completion
PROS:
- Good story (if you ignore the fact the makers clearly haven't read the books)
- Good audio
- Decent graphics
- Well acted cut-scenes
- Shelob's story was really interesting
CONS:
- No self exploring (it would be cool to explore Middle Earth)
- Sprinting & movement controls are a bit awkward
- You don't gain XP when killing enemies, only if you defeat captains/war-chiefs & complete mission sequences which makes levelling up take a VERY long time
- Verbose enemy monologue introductions/retreating are boring & annoying
- After a certain level (38 ish) the enemy captains are always 5-10 levels above you with multiple perks, making it extremely difficult to fight. If you die, congrats, they've levelled up even more while you haven't
- After finishing the main storyline you begin the Shadow Wars which is an absolute grind. You need tons of Mirian in order to level up your orcs in preparation of multiple sieges. Very repetitive; becomes a chore
- When you have completed all the main storylines & collected all the Shelob memories, Gondorian artefacts, etc. You will think "Is that it?" There could have been more to the story, it ended too fast.
The Wild Bunch (1969)
The Bland Bunch
I'm a 24 year old Western fan and for years I have heard this film being referred to as a "classic" & "masterpiece." Tonight, I finally decided to give it a go. Hell, I wish I didn't.
In the 2020s, we are saturated with nudity, language & violence in media, so I was disappointed to see nudity here. The female breast is such a random addition to the scenes in this film, it simply makes no sense but to express the director's indecent vulgarity.
The film's nihilist streak with Peckinpah's senseless bloodshed display the depths of its creator's jaded outlook and his sorrowful elegy for an epoch of American heroism as two orgies of bullets bookend the gang, setting a new standard for the depiction of gratuitous violence. There must have been gallons of tomato sauce used every time a gun fired. Plus, the shootouts themselves are sloppily executed; being in solitary confinement would be more thrilling.
The plot and pacing are shambolic and sluggish.
Characterisation is heavily flawed from the very beginning; these antiheroes lack in any likeable personality. Even the "humour" is sophomoric at best.
Overall, The Wild Bunch stands out as simply the most boring, pathetic attempt at frontier narratives I have ever seen.