MPAA Rating: R/Genre: Western Drama/Stars: Christian Bale, Rosamund Pike, Wes Studi, Jesse Plemons, Adam Beach, Rory Cochrane, Peter Mullan, Scott Wilson, Paul Anderson, Timothée Chalamet, Ben Foster, Jonathan Majors, John Benjamin Hickey, Q’orianka Kilcher, Tanaya Beatty, Stephen Lang, Bill Camp, Scott Shepherd, Ryan Bingham, Robyn Malcolm, Xavier Horsechief/Runtime: 133 minutes
I think it can safely be said that if you want a slice of cinema that is all sunshine, rainbows, and happy go-lucky in almost every aspect…….then you might want to steer clear of any slice of cinema that is helmed by one Scott Cooper. Not because he is a bad helmer mind you, but rather because each and every one of his films is one that will definitely put you and your collection of emotions through the wringer in more ways than one. Indeed his first slice of cinema, 2009’s Crazy Heart, was a emotional look at a country singer more than slightly past his prime who finds events in his life pushing at him to try and right the ship so to speak before it’s too late that managed to also net a Best Actor Oscar for Jeff Bridges. 2013’s Out of the Furnace on the other hand deals with a steel mill worker in the Appalachians confronting his past whilst also trying to find his brother who has mysteriously vanished that featured fantastic performances from a cast that included Christian Bale, Woody Harrelson, Casey Affleck, Forrest Whittaker, and Sam Shepherd. Of course, along with those previously mentioned entries, it should also be said that this helmer also gave audiences one of the better Johnny Depp performances as the infamous gangster James “Whitey” Bulger in 2015’s fairly well-done mob flick Black Mass. This then brings us to a slice of cinema he helmed in the long-ago year of 2017 and yet it might keep that reign of grounded and no-nonsense cinema afloat, but with this film Cooper was also giving us a slice of cinema in a genre that, when taking into account the works he had given audiences up to that point, seemed tailor-made for him. That genre, of course, was the Western and the slice of cinema in question was one known as Hostiles. Indeed, whilst also choosing to take on the concepts of both the tragic relocation of Native Americans as well as the ramifications that acts of violence can truly possess, this slice of cinema is one that chooses to operate as an unyielding glimpse at a hard-edged period of time and populated by a cast of fairly hardened individuals. Yet even though there are times where this slice of cinema’s tempo might be a wee bit irritatingly lethargic and the themes the movie claims to be working with and what we see unfold on screen might not always match, there is no denying that there is a genuine potency to this film. Suffice it to say that it might have flaws, but the work behind the camera is capable and the work in front (led by a terrific Christian Bale performance) is on-point thus making this one trail ride that, should you be sturdy enough, is definitely worth embarking on.
The plot is as follows: Taking us back in time to New Mexico in the long-ago year of 1892 and following a prologue of sorts that I shan’t spoil here, Hostiles gets its riveting narrative underway by transporting us to a military outpost known as Fort Berringer. It is here where we are introduced to our main character who takes the form of a man by the name of Joseph J. Blocker. Mr. Blocker, we rather quickly learn, is an esteemed to some degree or another Captain in the United States Army who for a long time now has made a name for himself by mercilessly going up against the Native Americans in the area. Yet as noble as his efforts were, the fact is that the times are a’changin’. Perhaps this is why we see that Capt. Blocker is summoned into his C.O.’s office and told that, before he can retire, he must undertake one last assignment. That being to escort one of his fiercest opponents, a Comanche chief named Yellow Hawk, and his family back to their ancestral lands in Montana so the Chief, who is dying of cancer, can die in peace rather than as a prisoner of war. Finding both a court-martial and the forfeiture of his pension waiting as punishment should he choose not to do this, we see that Blocker brings together a group of fellow soldiers including an old friend named Thomas Metz, a corporal who has served under him for a while named Woodson, a recent West Point graduated named Kidder, and a young private named Dejardin to join him in this endeavor. Together this group, plus a woman they pick up along the way named Rosalee Quaid, will embark on a journey from New Mexico to Montana that will be undoubtedly test them, but it will also do something else. Namely that it will, in their own way, not only start to cause our characters to question their past decisions, but also little by little find it within themselves to look past what happened before so that way they perhaps can have a chance to get to see what could potentially lie ahead.
Now right from the word go, I think anyone who is remotely familiar with the other entries in Scott Cooper’s filmography will be aware that this is definitely a slice of cinema with his name all over it. Yet rather than act as a detractor to the overall quality of this film, I must admit that his unyielding and harsh way of viewing things is a fairly cohesive match for the visceral and brutal era this film is taking place in. Even with that brutality in mind however, there is no denying that, with the phenomenal aid of the brilliant cinematographer Masanobu Takayanagi, Cooper is able to showcase both some truly gorgeous images that are genuinely frame worthy here whilst also displaying the desolate landscape of New Mexico with an arresting yet grim attractiveness that perfectly underscores the thematic concepts this tale is attempting to showcase for us. By that I mean yes this is a slice of cinema that may be regaling us with the narrative of a biased (albeit not entirely unwarranted) military officer who finds he has to work with the very people he has hunted and exterminated without prejudice in order to complete his vital final assignment. At the same time though, this slice of cinema then does a brilliant job of utilizing each hostile force that crosses paths with him and the rest of the party to make a point to all of us that only by working with those we dislike in moments of crisis can we hope to make it in this world at times. A bit depressing to be sure, but still a concept that is quite relevant to this very day. At the same time, for as insightful as that thematic exploration may be, there is a trade-off that is a wee bit problematic. Namely that this slice of cinema does encounter its fair share of dilemmas in attempting to make up for the fact that, for a story about the long-term impacts Native American displacement had, a lot of the narrative does concentrate on the characters that aren’t Native American. I mean don’t get me wrong the individual narratives of some of those characters are fairly intriguing in their own right, but nevertheless I did whilst watching this slice of cinema get this feeling in the back of my mind that those characters were kind of hogging the focus a bit more than they ought to have been. On top of that, even if it’s only 127 minutes (not including credits), this slice of cinema comes equipped with a very purposeful tempo that, if you don’t have the attention span for it, will try your patience. I mean with all the quiet back and forth dialogue around a campfire scenes that exist in this movie (at least 10 minimum), I can definitely see how one more spin around the editing globe could have helped this whole cinematic affair flow a bit easier than it does. Yet, despite the fact that the tempo is a wee bit problematic and although there is a degree of thematic breakdown that hinders this film from fully gelling, this is still a very much respectable entry in the Western genre of movie magic behind the camera all things considered.
Of course, I also think that praise must be given here for the work done by this slice of cinema’s fantastically chosen cast for their part in bringing this film as vividly rippin’ and roaring to life as they are able to. In fact, that is one arena where I do have to praise the laid-back pacing and tempo that this slice of cinema is operating with. This is because of the fact that, by choosing to operate at the pace that it does, this movie does at the very least permit its cast to make the most of the screentime they are given and really provide us with fairly solid performances as a result. This starts with Christian Bale as Blocker and I know I have said in previous reviews (hint: the last one I did before this one) that the man is easily one of the best performers of his generation, but I definitely meant it then and I still mean it now because he is terrific here too. Indeed, Bale does an amazing job at playing this bitter and weary career military guy who, at first, would rather either have nothing to do with this assignment or to just put a bullet in the head of the guy he is having to transport and only agrees to do it because his financial future is put at risk. Yet as the film goes on, we see that little by little Bale provides us with a logical explanation for his hatred, but also lets this guy’s bitterness dissolve and his humanity, which he thought long gone, shine through to the point that by the end he has been changed by his experiences in ways that I’m not entirely sure even he could have anticipated. Suffice it to say it is another wonderful performance from an actor who I don’t think has given us a bad performance to date (and yes I’m including his work in 2002’s Reign of Fire in the mix there). Equally as good as Bale though is the underrated Rosamund Pike in the role of Rosalee. Indeed, the character of Rosalee is one that is meant to be a personification of grief and heartache for reasons I shan’t spoil here. Suffice it to say then that I think it can safely be said that Pike does a great job at not only delivering on that, but also in making this character feel less like an archetype and more like a genuine human being. With that in mind though, perhaps the most heartbreaking (and I mean that in a good way) performance is the co-starring one provided by Rory Cochrane in the role of 1st Sgt. Thomas Metz. Indeed Cochrane, behind what looks like a literal wild lion’s mane of a beard, gives us a vivid and potent look at a man who is very much broken by his experiences in the services yet is still desperately trying to do his part on this mission. Not because it’s all he knows, but because he wants to be there for his friend Blocker even if he’s not entirely sure he can be there for himself psychologically. Suffice it to say that is quite the haunting performance and don’t be surprised if you find yourself holding back tears when you see how his particular arc in this narrative wraps up. Suffice it to say that when you also factor in terrific support performances from such talents as Ben Foster (who is rather chilling in one scene between him and Bale), Wes Studi who is brilliant (albeit tragically underutilized) casting for Chief Yellow Hawk, Jesse Plemons, Timothee Chalamet, Jonathan Majors, Scott Wilson, Stephen Lang, and Bill Camp to name but a few respectively I think it can safely be said that for all the issues that this slice of cinema is saddled with at the very least the collection of talent that has been assembled in front of the camera is most assuredly not one of them.
All in all is Hostiles a perfect slice of Western cinema? Sadly no as much as I would love if it actually had been due in no small part to the pedigree of talent involved on both sides of the camera. With that in mind though, is this movie one that is an outright disaster? Honestly, I wouldn’t say that either. If anything, I think that is one slice of cinema that could best be described as “good and close to being great, but alas no cigar though not for lack of effort”. Indeed it might have its fair share of flaws, but it’s truly stunning to look at, the narrative (when the tempo permits) is quite riveting, and the cast of players all bring their collective A-games to this which gives us a group of truly dynamite performances as a result. Thus, if you are in the mood for something akin to 2016’s retooling of The Magnificent Seven then I am sorry to say this, but this is by no means that kind of movie so definitely do not go into this with that impression at all. On the other hand however, if you are wanting a slice of cinema that is more in the same league as the equally as contemplative and even melancholic to an extent phenomenal 1992 Western slice of cinema Unforgiven then you’re definitely in the right place. Even with that in mind though, there is no denying that Hostiles may have its issues, but for fans of the genre or thought-provoking cinema I definitely think you will find more than a fair bit to enjoy instead of be (for lack of a better word) hostile over. Make of that what thou will dear reader. On a scale of 1-5 I give Hostiles “2017” a solid 3.5 out of 5.
