“My name is Dances with Wolves. I have nothing to say to you. You are not worth talking to,” said John Dunbar.
By today’s standard, Kevin Costner’s Dances with Wolves would’ve been received differently, possibly with praise over the film’s respect to representation – the use of native people and native language to depict native American, Sioux and Pawnee. At the same time, it might also receive terrible backlash over its ‘white savior’-esque narrative by today’s critical audiences. However, it stormed of Academy Award in 1991 – nominated for 12 and win 7, including Best Picture. Continue reading Blindspot: Dances with Wolves (1990)
“I’ve killed women and children. I’ve killed just about everything that walks or crawled at one time or another,” said William Munny explaining who he was.
Clint Eastwood dedicated his final Western film as a director and an actor, Unforgiven, to the sub-genre that has made great name out of him. More, he specifically dedicated it to people whom he’ll be forever in debt with, Sergio Leone and Don Siegel. And, who knows that a devoted tribute would end up being a milestone to the modern-day Western film. And, who knows that this tribute would be Eastwood’s legacy. Continue reading Blindspot: Unforgiven (1992)
Review: This year’s Magnificent Seven, by nature, is an oddball – a remake of John Sturges’ preserved Wild West classic, which was a result of remaking Akira Kurosawa’s essential Seven Samurai. A simple classic story, which Antoine Fuqua remakes with True Detective creator Nic Pizzolatto and Richard Wenk, might only differ a little from whichever source materials it follows; but, in an era of forgettable blockbusters, this one might fade in one or two years, contrasted to the everlasting originals.
While it is still the same story where 7 unsung heroes – in this term, gunslingers – assemble; the new Magnificent Seven attempts to Americanize the source of conflicts. Wiping off the classic bandit nature of the villains and substituting it with a greedy, heartless capitalist in face of Bartholomew Bogue (Peter Sarsgaard) is how. In addition, it makes use of a little more motivation to make it more Western (in favor of Quentin Tarantino): revenge.
There is a prologue where a strong-hearted female protagonist (an effective addition to the storytelling) is introduced. She is Emma Cullen (Haley Bennett, Hardcore Henry and the upcoming The Girl on the Train), whose husband, along with some other villagers, is murdered in favor of Bogue’s ambition. Continue reading The Magnificent Seven (2016) – Review
Review: Here comes Quentin Tarantino’s eighth film – a quintessence of his spaghetti western tendency and, mostly, a collection of all his cinematic wonders which serves as a kind of ‘greatest hits compilation’ in The Hateful Eight. By far, this second Western to QT’s universe is the most fun, enjoyable and digestible. Also, this one is possibly the film QT enjoyed most during the ‘troublesome’ making.
Entirely shot with 70 MM Ultra Panavision – which I wasn’t fortunate enough to enjoy (lucky those who watched it as it should have been projected; or at least got the correct aspect ratio on cinema), The Hateful Eight is set during a post-Civil War blizzard at Minnie’s Haberdashery, where the titular hateful eight people – plus one least hateful one (who doesn’t get counted) and one surprise hit one (who doesn’t get counted as well) got trapped. Staged like a Broadway play which is divided into 6 chapters, dominated with witty dialogues in a sense like a courtroom drama… without the boredom, it’s a slow-burning fun, which leads to an ultra-violent conclusion. Continue reading The Hateful Eight (2015) – Review
“To him, we were in a land of hope and good will,” Silas explaining Jay’s vision about the West.
First time writer-director, John Maclean attempted to revisit Western genre with his poetic vision—an off-beat wild west tale taped with coming-of-age romance and quirky road film like never before.
He crafted a cinematic idyll in a form of irony—depicting the wild west with highly fluorescent and picturesque visuals—juxtaposing the highly-unanticipated startling plot. Continue reading Slow West (2015) – Review
David Lowery mewujudkan sebuah cinema poetica yang sepintas mengingatkan saya pada film-film Terrence Malick di dekade ’80an. Sebuah perpaduan film western dengan balutan crime dan noir yang sukses di Sundance tahun 2013 tentang pasangan yang melarikan diri–yang diperankan oleh dua bintang yang berciri khas, Rooney Mara dan Casey Affleck dalam Ain’t Them Bodies Saints. Well, more about these escapists here, click!