Cooper goes all in yet again, this time attempting to craft a film with Malick's visual poetry and Cimino's explosive tension and violence. He never quite hits the right notes and there's the lingering feeling that something's off about the film: the big emotions never quite hit, the violence never shocks or sobers, and the narrative ultimately falls flat. Still, it's a journey worth taking.
A very harsh and suspenseful retrospective on the fragile relations of the American Frontier at the last decade of a century that will intensify and haunt on the painful history of how fractured and brutal human civilization was and continues to be with deep haunting performances by Christian Bale, Rosamund Pike, Wes Studi, and Ben Foster.
Christian Bale gives an incredibly intense performance in this great film from one of the greatest modern filmmakers Scott Cooper. This is a gripping road picture that has a lot to say about loss and grief and above all how we treat each other in the grand scheme of things. We are all shitty when it comes down to it but this film poses the question do we really have to be. At times it even has echoes of Peckinpah.
Cooper really swings for the fences with his films. He knows good art and he knows what would make a great film and what elements to use but more times than not he follows his big swing with a big whiff. This is a miss unfortunately. The elements are all there to make a great revisionist western and statement on war and americas history of expansionism and the great curse of the native genocide. It nds up bein middln
No so much a revisionist western as simply a plain ol' contemporary western (and I love a western). As w/ many westerns concerned w/ the relationship between the colonizer and indigenous peoples, it is also in no small part a war movie. Like many genre films it is interested in a man's code as an adaptable ethics. It would appear she's been working consistently, but I sure was happy seeing Q'orianka Kilcher again.
It has clunky moments and ponderous stretches, but surrendering to the episodic narrative is worthwhile. Even with the NCAI's important endorsement, this is less a film about Native Americans and cavalrymen, and more a story about how loss and grief can bring people together in unlikely and powerful ways -- even if they've every reason to hate each other. Takayanagi's photography, and Ritcher's score, are sublime.
an improvement over Cooper's Black Mass, Bale does most of the heavy lifting here as well as Masanobu Takayangi's strong camera work. there are powerful moments but overall the screenplay is reaching beyond it's grasp, thinking it's more profound than it actually is. still worth a look.
It's noteworthy when a director chooses to be so doggedly old-fashioned in his pursuit of a specific aesthetic: languid pace, smoldering intensity, and gorgeous use of landscapes and faces (d.p. Takayanagi). HOSTILES is painfully sentimental, and this succeeds in elevating it from the bogus solemnity of BLACK MASS. The great Christian Bale oscillates between a maniac and good soldier when not reciting "yes, ma'ams".
This brutal and slow western is dominated by the commanding and dignified presence of Rosamund Pike while Christian Bale squares his jaw and cradles his gun as an inscrutable man of violence. He's tasked with transporting the Cheyenne Chief Yellow Hawk to Montana. En route he falls upon a Comanche attack on a homestead in New Mexico. It is a powerful film but a poor ending.
oy vey ... this movie has good qualities ... which are rendered secondary to the huge, bulging, unanswered question of why a Westward expansion narrative which normalizes violence against Indigenous Americans is being made in 2017 ... however many more attempts this movie makes at white apologetics than its predecessors will never be enough. Enough has been enough since Dances With Wolves ... quit it