Synopsis
No peace without sacrifice
A legendary Native American-hating Army captain nearing retirement in 1892 is given one last assignment: to escort a Cheyenne chief and his family through dangerous territory back to his Montana reservation.
2017 Directed by Scott Cooper
A legendary Native American-hating Army captain nearing retirement in 1892 is given one last assignment: to escort a Cheyenne chief and his family through dangerous territory back to his Montana reservation.
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 Bill Camp Scott Shepherd Ryan Bingham Robyn Malcolm Ava Cooper Stella Cooper David Midthunder Gray Wolf Herrera Stafford Douglas Stephen Lang Xavier Horsechief Austin Rising Scott G. Anderson Boots Southerland Show All…
Scott Cooper Ken Kao John Lesher Catherine Farrell Josh Rosenbaum Jennifer Semler Sean Murphy Alex Walton
Donald Stewart Will Weiske Byron Allen Carolyn Folks Jennifer Lucas Mark Borde Chris Charalambous Mark DeVitre Terence Hill
Daniel R. Jennings Edward McLoughlin Chris Yoo Richard Anthony Montoya Ashley Michelle Marsh Bailey Scroggins Ethan Scroggins
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There's something fundamentally misguided about these types of stories. The implication of a tale where a racist is reformed by spending time with someone he hates is that the reason racists still exist in the world today is that they simply haven't had the right life experiences, rather than that there are systemic conditions that manufacture and preserve racist sentiments.
We're supposed to believe that Captain Joseph J. Blocker (Christian Bale) simply hates Native Americans because he hasn't been forced to transport one across the country yet, not because the United States spreads anti-aboriginal hatred to justify its existence as a nation on another culture's land. No. That's just not how it works. The reason people are racist is institutional,…
Scott Cooper makes Capital-A American Dramas that are as narratively, thematically and politically complex as a Michael Bay film but because he does them in a laborious macho art weepy style instead of an ugly crass explosion I guess I'm supposed to take them seriously. This time he does the Good Colonialist story, where the white man's burden and guilt have a chance to act out extreme violence, not that it matters because the only thing Cooper knows how to do is steal his hollow genre stylings from much better filmmakers (previously Scorsese, here Ford) and get otherwise good performers to mumble about rote emotions and Important Issues and move slowly—Bale, at least, is suited to the grumbly macho cry…
Cormac McCarthy’s western epic Blood Meridian or the Evening Redness in the West is an obtuse and nearly insurmountable story to commit to screen, and I have my doubts that if it ever is produced that it will properly encapsulate the themes and poetic depth of that novel. But I can appreciate when a movie scratches the surface, and Hostiles is definitely one of those films. In it, Christian Bale is a U.S. Cavalry officer tasked with escorting a Cheyenne war chief back to his tribal home in Montana before the chief succumbs to cancer. To make things worse, the two of them had been at Wounded Knee, and there is a deep-seated hatred stemming from decades of violence that…
came for timmy 🤭 stayed for rosamund pike in a cowboy hat and that big yeeHAW cinnamon tography 😍
“Hostiles,” a sturdy and characteristically brutal new Western from “Black Mass” director Scott Cooper, begins with somebody shooting a baby — that’s not a spoiler, just a warning. The year is 1892, and a settler named Rosalee Quaid (Rosamund Pike) is teaching her young daughters about the magical power of adverbs. Suddenly, their New Mexico homestead is raided by a band of Comanche renegades. They murder her husband, they shoot her two girls, and they fire a bullet directly into her infant son; Rosalee carries the lifeless bundle in her arms for days, because it’s that kind of movie — the only kind that Cooper knows how to make.
Mostly on autopilot. Like I was thinking it was weird that Ben Foster wasn't in this and then yep, Ben Foster shows up. Anyway there are lots of guys who shouldn't be taking a pass at THE SEARCHERS and Scott Cooper is definitely one of them.
Gloppy revisionist western that's half as smart as it thinks it is, and twice as grim as it needs to be. Strong ending that's just ridiculously unearned. Scott Cooper!!! *shakes fist at sky*
“I was just doing my job,” Captain Joseph says, to excuse his heinous treatment of Native Americans. Hostiles teases a complex study of the relationship between White and Native Americans but is more concerned with looking pretty than giving any substantial worthwhile message. Looking at the credits, I was surprised that a crew filled with talents like Tom Cross and Max Richter could create something so mediocre.
Hostiles boasts the greatest collection of Native American acting talent in a Hollywood film in years, with Wes Studi, Adam Beach and Q’orianka Kilcher, yet it can’t think of more than a few words for any of them to say. Their role is to humanize the white people, and to forgive them. And then they are no longer required.
Review at Seattle Screen Scene.