Synopsis
Wanted Dead or Dead
In the Old West, a 17-year-old Scottish boy teams up with a mysterious gunman to find the woman with whom he is infatuated.
2015 Directed by John Maclean
In the Old West, a 17-year-old Scottish boy teams up with a mysterious gunman to find the woman with whom he is infatuated.
Michael Fassbender Kodi Smit-McPhee Ben Mendelsohn Caren Pistorius Rory McCann Eddie Campbell Brooke Williams Alex MacQueen Kalani Queypo Madeleine Sami Tawanda Manyimo David T. Lim Jeffrey Thomas Hayden Frost Kieran Charnock Michael Whalley Brian Sergent Edwin Wright Ken Blackburn Karl Willetts Stuart Martin Stuart Bowman Andy McPhee Andrew Robertt Aaron McGregor
Бавен запад, 슬로우 웨스트, Строго на запад, 西部慢调, Πορεία Δυτικά, Oeste sem Lei, מערב איטי, الغرب البطيء, Sakin Batı, Oeste Sem Lei, 槍響前決定愛不愛你, Повільно на захід, スロウ・ウエスト, Vestul liniștit, Gausie rietumi
“Kill that house!” A man draped in furs stands in the middle of an endless wheat field and commands his ragtag posse of killers to lay waste to the only home in sight. What follows is one of the greatest shoot-outs this side of Sergio Leone, violently punctuating a fable about a place so preoccupied with survival that no one in it can afford to take a hand off their holster.
John Maclean's SLOW WEST is one of the most visually stunning westerns I've ever seen. Such an original, darkly absurdist, lyrical and melancholic piece of work. Features fine performances from the cast, especially Michael Fassbender and Ben Mendelsohn.
i dragged my parents to see this on my birthday four years ago. they fell asleep but i loved every second. it’s nice to know that still holds up.
53/100
A.V. Club review. Full disclosure: I cannot see Kodi Smit-McPhee's face without wanting to punch it, for some reason.
[Comments locked because people today get outraged about the dumbest shit.]
While some may describe Slow West as ponderous, an argument I am sympathetic to, I prefer to say that it moves with a precise intent. John Maclean's debut plays with the expectations of its genre in an example of impressive dexterity, utilising its beautiful and familiar setting in an unorthodox and captivating fashion. The film is certainly a tale of love and violence, well-worn themes indeed, but the tale is told with a unique sense of melancholic poetry and welcomed idiosyncrasies.
"In a short time, this will be a long time ago."
Morphed into something distinct, yet alien,
during those woefully resonant final twenty minutes.
A denouement both loud and silent,
in immeasurably different ways
(though I wish it would have ended with
the extreme wide-shot of the little house).
No one has been on Fassbender's level since 2008.
Somewhere between mediocre and good.It's slow but not a slow burn.Despite being so violent,it doesn't strike at all.Nothing memorable to revisit any time,I might probably forget about it by tomorrow.The entire script doesn't fit into the modern western style so I feel Tarantino could have made it a lot better.The dynamic between the two main characters is also an issue and this was so important for the climax to leave an emotional impact when one says something about the other,instead it felt cheesy.
Now what I liked about it,firstly the beautiful dream like cinematography and secondly,Michael Fassbender's performance which to no surprise was great.The anti gun message is also something to look for but not conveyed that well.Also there is some clever humour in the 2nd act,I wish the entire film had that.
Nothing else to say on this one,my first and last watch.
On my journey through the almost 1222 movies I must see before I die, I was fortunate (and sometimes unfortunate) to see a huge number of Westerns, from every era, budget, and premise. So when I say this is probably the most picturesque Western I've ever seen, you know I mean it. Despite the lack of good lighting in the night scenes, Robbie Ryan made all the colors pop in an amazing way.
One aspect of the film that I loved, and about which you don't realize until the last act, is how clearly inspired it is by the Coen brothers, both directly and indirectly, especially when it comes to the ironic twists towards the end.
As the name of…