MPAA Rating: NR/ Genre: Western Horror/ Stars: Kurt Russell, Patrick Wilson, Matthew Fox, Richard Jenkins, Lili Simmons, Evan Jonigkeit, David Arquette, Kathryn Morris, Sid Haig, Sean Young, Fred Melamed, Maestro Harrell, Jamison Newlander, James Tolkan, Jeremy Tardy, Michael Paré, Zahn McClarnon, Michael Emery, Raw Leiba, Geno Segers, Eddie Spears, Alex Meraz, Jay Tavare/Runtime: 132 minutes
I think it can safely be said that some slices of cinema have a rather delighted way of sneaking up on you when you least expect it and then surprising you. Not only with their appearance seemingly out of thin air, but also with how good they actually turn out to be. The reason I bring this up to you dear reader is because the slice of cinema I am reviewing for you today, 2015’s Bone Tomahawk, is most assuredly one of these movies. Indeed, here is a slice of cinema that has its various genre influences brilliantly given to us in just the right doses. By that I mean at one point in time you will feel like you are watching a western that John Wayne might have made back in the day. Then there are moments where you feel like you are watching a thriller that will leave you on the edge of your seat in the best way possible. Of course, we can’t forget that the film also contains a low-key yet still quite comedic undercurrent of gallows comedy that would be more at home in a film from the Coen Brothers like Fargo and the like. Yet, just when it looks like the dust has settled and all is finally calm in this cinematic valley, the film then proceeds to whack you over the head with moments of visceral brutality as if it just accidentally wandered onto the set of The Hills Have Eyes or the latest Eli Roth film. Yet, despite the fact that all of these elements should, by film chemistry laws, try to cancel each other we see that astonishingly this is not the case with this slice of cinema even with a runtime that runs dangerously close to going too far. Instead, what we get is a phenomenally made and potently performed by a truly top-flight cast of players that I might be at a loss even to this day at explaining just why in the world this did not get a proper theatrical release. Yet, even with that in mind, I promise that if you give this film a try it is possible you will walk away going “huh?”, but you also might just find yourself with a new slice of cinema that should prove to be a favorite you will take delight in watching time and time again.
The plot is as follows: Bone Tomahawk gets its rooting-tooting yarn underway as we find ourselves back in the 1890s and a reluctant witness to a pair of bantering members of that distinct group of people known as outlaws (or highway robbers if you prefer the proper term) by the names of Buddy and Purvis as they traverse the desolate landscape in the aftermath of their latest scheme. Yet you can only engage in a life of crime for so long before you make a mistake. Suffice it to say that I’m no expert, but I’m pretty sure stumbling into and also mildly desecrating an unknown tribe of Native Americans’ cemetery might qualify. A belief that the members of this tribe soon manage to solidify into concrete fact and, in the ensuing chaos, we see only Purvis manage to get away albeit with a few gnarly injuries to his name. From there, our story moves ahead 11 days where we see Purvis make his way to a sparsely populated yet named with just the right hint of either optimism or comedic irony town by the name of Bright Hope. Unfortunately for Purvis, we see that his suspicious demeanor quickly sees him not only shot in the leg, but detained and imprisoned in the town jail by the town’s decent, hardworking, and more than his fair share of world-weary sheriff a Mr. Franklin Hunt. Sadly, we see that Purvis’ untimely arrival has ramifications beyond just pessimist vibes especially when we see, in a quite visceral manner, that the tribe he ran gravely afoul of is not one to just let bygones be bygones. To that end, we see that at some point in time during the night the tribe makes its way into town and snatches him up along with both the deputy, a young man named Nick, who was assigned to watch by the Sheriff as well as the female doctor who was summoned to take care of Purvis’ injuries whilst he was a reluctant “guest” in the town jail. To that end, we see a driven and determined Hunt decide to make out for where this tribe is supposed to reside, but he is by no means alone in his endeavor. Indeed, joining him on this urgent rescue mission is his rambling yet loyal back-up deputy Chicory, a gentleman of a gunslinger with a history of killing Indians named Brooder, and the doctor’s cowboy of a husband whose macho exterior has recently been dinged a fair bit by a broken leg that his wife had repeatedly told him he needed to stay off of lest he risk losing the darn thing. Together this unlikely quartet must go on a journey that will see them go up against a chilling evil that is unlike any they have dealt with before. Yet, it is also one that they must defeat should they wish to save not only those who have been kidnapped, but themselves as well…..
Now it is worth noting right off the bat that what this film’s helmer and his team behind the camera have managed to make before anything else is a wonderful entry in the Western genre that completely subverts expectations. Yes, the gorgeous and haunting shots of the desolate frontier landscape are there and very much present. Yes, these men are frontiersmen in every sense of the word. However, rather than let these guys proudly climb aboard their horses and go riding off at a full gallop with a confidence and pride that they will be successful, this slice of cinema does not pick that road knowing it’s been done a million times over. Instead, this slice of cinema is one that operates with a tone that is a mix of anxiety, uncertainty, fearful, and melancholic as they not only bid farewell to those they love, but set on the trail towards a fight they truthfully don’t rightly know if they will be the victor of. It’s the trail to their destination incidentally that makes up a significant portion of this slice of cinema and while in the case of some films the journey might be a bit on the taxing side that is not the case here. Indeed not only is there unease between the men to sift through, but there’s also ideologies to trade, minor calamities to work through, and even moments of comradery and brotherhood (however reluctantly) as well. To that end, you should know that this film is one that is phenomenally calculated in every choice that it makes and that can be a bit much for some to handle. For those of you who can however, I promise you will not only be treated to a film that feels very much authentic of its primary genre, but also in rich characterizations that all definitely prove to be rewarding in their own unique ways especially in the moments where each of these men are called to task in some shape, form, or fashion. It is also worthy of note that Zahler makes the creative choice to not utilize a lot in the way of musical accompaniment throughout this slice of cinema, but in all fairness, this proves to be a brilliant choice. Not only because it makes it easier to understand the dialogue being spoken by the characters, but also because it ensures that you are able to place all (or as much as you can muster) of your concentration on just what is being unfurled before you on screen. Indeed, if there is any issue to be found with this film from a behind the camera perspective, it would be the fact that by running at a solid 2 hours and 12 minutes, credits included, this slice of cinema does come dangerously close to being too long for its own good. Thankfully, there is a positive to be found with all of this. Namely that the runtime does do a wonderful job of permitting you to both get to know this cast of characters better as well whilst also ensuring that you genuinely care about what happens to each and every one of them when the brutality gets kicked into overdrive in the third act of this film. A brutality incidentally that, when treated to it, does prove to be as visceral as those gore hounds amongst you might be (however perversely) hoping for it to be. Thus, there might be an issue or two behind the camera, but they really are miniscule in the grand scheme of things.
Of course, the other big element working in this slice of cinema’s favor is the collection of acting talent who have saddled up (pun intended) to take part in this quite distinct slice of cinema. This starts with iconic screen talent, to say nothing of one of my personal favorite actors, Kurt Russell as Sheriff Hunt and *surprise surprise* he is genuinely great in this. Indeed not only does he (complete with a magnificent moustache he would also stylishly rock in The Hateful Eight released the same year as this slice of cinema) look and feel very much like a sheriff of an Old West town, but he also brings the gravitas and just sheer screen presence that Russell has always been known for bringing to every role he has ever played. Suffice it to say that I know there will be those who just see this as continuation of the terrific work Russell did as Wyatt Earp in 1993’s Tombstone, but trust me when I say that this most assuredly is a different character altogether. Along with that, we also get surprisingly good work from Matthew Fox in the role of John Brooder. I say surprising because, his role as Jack Shephard in that one show with a smoke monster and other confusing elements known as Lost and a few roles in We Are Marshall, Vantage Point, and 2012’s take on Alex Cross aside, Fox hasn’t really been as present as an actor as others have. Yet with this slice of cinema, I can definitely say that Fox makes his presence known. Indeed his character may start out as someone who is very much closed off, standoffish, arrogant, and more just a tad bit racist if I’m being honest. As the film goes along however, we see that there is more to this guy than meets the eye and it isn’t long before we not only see why this guy is the way he is, but that we also empathize with him to some degree as well. Suffice it to say that I know he hasn’t been on our screens as much for a while now, but I really do hope that if the right material makes its presence known that he makes a comeback because, if it’s anything like his role here, I think we’ll be in for quite the treat. Meanwhile we also see that, in the role of Arthur O’Dwyer, we are treated to a fantastic performance from Patrick Wilson who really has become a performer who manages to give his all to every film he’s in be it the Insidious and Conjuring franchises or something like this and Watchmen from 2009. Out of the main quartet however, the genuine MVP has to be iconic character actor Richard Jenkins in the role of Deputy Chicory. Indeed, Jenkins has always been one of the more delightful screen presences we have had the past few decades and here is no exception as he manages to not only be a wonderful blend of decency and comedic, but also the heart that a slice of cinema like this desperately needs. Yet, besides this quartet of immensely talented performers, this slice of cinema also gives us some wonderful bit roles from such screen talents as David Arquette, Sid Haig, Sean Young, Michael Paré, and Jamison Newlander to name but a few and they are all aces as well. Thus this slice of cinema may run a bit too long for its own good, but when you’re spending that time with this kind of company…..maybe that’s not entirely a bad thing.
All in all, I’m not going to lie to you dear reader: the time-honored cinematic concept of Old West shenanigans involving a group of rough and tumble cowpokes duking it out with a vicious and ruthless band of Native Americans have nowhere near been as wild and crazy as they are in this slice of cinema. Indeed, here is a film that manages to operate a delightedly visceral genre mashup of sorts that ties a riveting vibe of Wild Wild West shenanigans at the hip to a sense of humor as jet black as a bag of pipe tobacco and just as potent dependent on the individual taking part in it. Having said that however, if you are an individual who has a heart and/or fondness for quirky and rambling comedy to say nothing of a iron-clad gut for quite novel brutality, this debut slice of cinema from film helmer S. Craig Zahler should prove to be an enjoyable and brutal treat in equal measure. Yes, you should know that this slice of cinema may throw out more than a few winks and nods to the iconic John Wayne-starring Western film The Searchers especially with its distinct narrative about a quartet of unlikely cowpokes setting out on a quest to save several of their fellow townsfolk from the grasp of a ruthless group of Native Americans who have snatched them up. A group who, in the case of this film, also happen to have a quite distinct fondness for human flesh (gulp). Suffice it to say that this slice of cinema may veer close to being too much to handle especially in light of the film’s 132-minute runtime. Thankfully, this slice of cinema is redeemed for that misstep quite considerably by not only the delightfully stubborn tangents located in this film’s incredibly well-written script, but also in how they are engaged in with observable delight by a truly fantastic cast of players led by the always enjoyable Kurt Russell. Suffice it to say that it might not be for everyone’s, dare I say, tastes, but for those of you who give this slice of cinema a chance I promise you will find this a rather distinct cinematic treasure of sorts. Make of that what thou will. On a scale of 1-5 I give Bone Tomahawk “2015” a solid 3.5 out of 5.
