Directed by:
S. Craig ZahlerScreenplay:
S. Craig ZahlerCinematography:
Benji BakshiCast:
Kurt Russell, Patrick Wilson, Matthew Fox, Richard Jenkins, Lili Simmons, Evan Jonigkeit, David Arquette, Fred Melamed, Sid Haig, Maestro Harrell, James Tolkan (more)VOD (1)
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When a group of cannibal savages kidnaps settlers from the small town of Bright Hope, an unlikely team of gunslingers, led by Sheriff Franklin Hunt (Kurt Russell), sets out to bring them home. But their enemy is more ruthless than anyone could have imagined, putting their mission – and survival itself – in serious jeopardy. (RLJ Entertainment)
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Reviews (15)
Thanks to Bone Tomahawk my girlfriend got laid again. Nothing happens at all for 90% of the film, which at 133 minutes is literally Martyrs of the highest caliber for me. (Those who like boredom and slow narrative will be in their element). An aimless wandering through a desolate landscape with a not very interesting story and with uninteresting dialogues that will not make you smile or even think, in short, it is not interesting. What is nice, though, is surprisingly decent cast and about three nice good scenes at the end, but I could have watched that on YouTube in five minutes and would have saved myself two hours twenty minutes. The savages and their screams are impressive, but putting the cards on the table at a time when the viewer is disgusted and bored is something that not even Indiana Jones would have been able to save. 50% so for the production quality and the actors, but otherwise boring. The scariest thing about the film so far is the rating. Story 5/10, Atmosphere 3/10, Gore 5/10, Visuals 6/10, Action 1/10, Entertainment 2/10.
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A slow journey movie with excellently played characters. Kurt Russel was just made for this western, Fox is a convincing as the arrogant bastard and Wilson is a regular guy with a wife holed up in a cave full of Indian cannibals. The action is swift and when the action eventually comes toward the ending, it’s naturalistic and good and bloody. The butchery in the cave is unarguably the zenith of the movie.
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It’s nice to come across a genre film that takes its time, lets the shots fade out and, instead of quickly satisfying viewers, slowly builds the atmosphere and the depiction of the characters. Thanks also to the patient and precise work with the mise-en-scène and the old-school linear narrative, it’s easy in the first hour to fall under the impression that you’re watching a classic western. In fact, Bone Tomahawk is a post-classic western combined with a cannibal horror movie (at the same time, the second half of the film can be seen as a subverted variation on hixploitation). Conducting themselves with the straightforwardness of cowboys, the men, one of whom is a cripple and the other a purblind widower, are branded as idiots by the self-sufficient female protagonist, while the ignorant attitude towards native culture has bloody consequences, and the theory of the frontier (between wilderness and civilisation) is not only taken to hellish extremes, but can also be related to the genre bipolarity of the film, which quite thought-provokingly explores the overlaps of horror movies and westerns (fear of strangers, the arrogance of the powerful white man). Though the ending doesn’t provide the satisfaction that I would have expected based on the care taken in the preceding two hours, Bone Tomahawk is still, together with The Hateful Eight, the best western updated for the troubled times in which we live, and by drawing from the exploitation tradition, it is far wittier and honest than The Revenant.
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Dialogue as if from a contemporary Manhattan conversational movie, theatrical performances, an atmosphere that is anything but western, amateurish cinematographic work with space and, in the end, a hole in the logic that makes it look like the filmmakers are mocking their audience. Bone Tomahawk reminded me of some festival bizarreness from the Karlovy Vary International Film Festival awarded the Ecumenical Jury prize. But I watched it to the end, because to see such cruel and brutal scenes in a western with a cast of A-listers is even rarer than the painfully bad direction.
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Rough, raw, brutal and uncompromising and yet based mainly on the characters. And what will disappoint you even more is the unstyled and rushed ending, which lacks a proper finale and which turns away from those characters. The ending is simply too brief and quick considering how slow was in the first three quarters.
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