4/5 Slow West The statement “this doesn’t feel like any Western out there at the moment,” lacks real meaning in this 21st century world of the abandoned West. A statement like that would imply that there are several Western films out there to choose from, when there simply isn’t. So, Slow West, first-time feature director John Maclean’s tale of a naive teen searching for his love in the ruthless frontier, existing at all is a small miracle. The fact that it feels like a singular, inspired creation is just the delectable icing on the cake. It’s not the film’s plot that feels revelatory. We have seen characters like Kodi Smit-McPhee’s Jay search for love for decades. Nothing will stop him from his ever-forward march to Rose (Caren Pistorious). Whether it be one bounty hunter named Silas (Michael Fassbender, offering up another classic performance) or a whole team of bounty hunters led by a fur coat-wearing outlaw named Payne (Ben Mendelsohn, fantastic, of course). Far flung journeys of love, redemption, penance, and moral decay/awakening are old hat in the Western genre, but Maclean manages to pull off the typical Wild Bunch ending with style and energy to spare. That, however, does not mean Jay and Silas’ road to understanding and eventual friendship should be ignored. If for no reason but to see so many great performances in one place, you should head to Redbox and give the film a go. Fassbender and Mendelsohn, so good in Netflix’s new series Bloodline, are beyond great, as I said. Keep your eyes on Smit-McPhee, who has been on the rise for some time now with roles in hits like ParaNorman and Dawn of the Planet of the Apes. The nineteen year old actor more than holds his own up next to seasoned pros like Fassbender. | Director: John Maclean Starring: Michael Fassbender, Kodi Smit-McPhee, Caren Pistorious, Ben Mendelsohn, Rory McCann Writer: John Maclean |
Unlike most Western directors, or at least what little there are left, Maclean’s work is not a constant callback to legends like Sergio Leone. Slow West most closely resembles the work of, wait for it, West Anderson. There are no dollhouse sets, unique aspect ratios, or quirky camera tricks, but look no further than the color-saturated, Let it Be-esque promotional poster to see what I mean. The set designs are impeccable and gloriously detailed, the cinematography is filled with bright color - not the norm with ruthless Westerns -, and there are random interludes of poignant fun, such as a random group of singing men on the plains. It’s delightful and all sums up to a satisfying whole.
With all of these Anderson comparisons, some of you might be wondering if Slow West is all style and no substance. Never fear. When it comes to the script, which Maclean also handles, the influence is more Coen-esque tragicomedy. He does not quite nail their pitch black laughs or offer up anything stylistically original, but I am willing to chalk that up to a young screenwriter still paving their own way.
While the screenplay is hit-and-miss, the same can not be said of the film. After a film that is this much fun to behold, I cannot wait to see what Maclean has in store for us next. Whatever it is, I know it will be worth the wait. Now, speaking of Westerns, who’s ready for The Hateful Eight? That would be this guy…
(Available on iTunes)
With all of these Anderson comparisons, some of you might be wondering if Slow West is all style and no substance. Never fear. When it comes to the script, which Maclean also handles, the influence is more Coen-esque tragicomedy. He does not quite nail their pitch black laughs or offer up anything stylistically original, but I am willing to chalk that up to a young screenwriter still paving their own way.
While the screenplay is hit-and-miss, the same can not be said of the film. After a film that is this much fun to behold, I cannot wait to see what Maclean has in store for us next. Whatever it is, I know it will be worth the wait. Now, speaking of Westerns, who’s ready for The Hateful Eight? That would be this guy…
(Available on iTunes)