WITHsomeplace within the wild west, someday after the civil warfare, legendary outlaw Isaac LeMay (Sam Worthington) decides to take his destiny into his personal arms and circumvent a prophecy that he can solely be killed by one among his personal kids. Which means monitoring down his many offspring and slaying them first, one after the other. A person of only a few phrases however blessed with an inordinate abundance of hair and uncanny luck in relation to avoiding bullets, LeMay has a couple of abilities, however not loads of allure. Additionally, he is clearly by no means learn any fairy tales of Greek tragedies in any other case he’d know that an ironic twist lies immediately in his path within the final act, one that the majority viewers will see coming from miles throughout the prairies and hilly terrain.
In the meantime, LeMay is himself being tracked by varied unaligned bounty hunters and people with a grudge or trigger, reminiscent of gun-and-tracker-for-hire Solomon (Thomas Jane), a former Union soldier who was raised by Native People, Cal ( Colson Baker, AKA rapper Machine Gun Kelly) a son of LeMay who’s taken up the household commerce of outlawing although he by no means met his Pa. (In a few on-the-nose scenes the latter will get to function an precise machine gun.) There’s additionally a daughter, Megan (Emily Marie Palmer), who seemingly felt slighted when LeMay declined to kill her, pondering she was too meek it poses a risk.
That is the form of western wherein many of the characters are coated in authenticity-guaranteeing dust, dried blood and meals stains, in order to suggest the poor hygiene situations of the interval. Grotty mise en scene in westerns like this goes again a great distance, not less than so far as McCabe & Mrs Miller (1971), and obtained a giant increase from the TV sequence Deadwood and arthouse westerns reminiscent of The Assassination of Jesse James by the Coward Robert Ford. The latter is clearly a touchstone for the moody, atmospheric soundtrack by Phil Mossman, as soon as of LCD Soundsystem.
Mossman’s rating and the filtered, painterly cinematography by David Gallego are by far the movie’s most fascinating options; the remainder of the drama is in truth a slog, stuffed with ponderous lengthy takes and considerably tinny dialogue. Weirdly, the solid appears stocked by performers who have been as soon as fairly well-known and appeared to have lapsed into lesser issues, such because the aforementioned Worthington (Avatar), Jane (TV’s Hung) and Heather Graham (Boogie Nights, The Spy Who Shagged Me), right here enjoying a saloon intercourse employee with deep connections to a number of of the characters.