6. Dead in Tombstone (2013)
Guerrero (Danny Trejo) is murdered by the brigands he leads. In Hell, he makes a deal with Satan (Mickey Rourke). Satan will permit Guerrero to stay alive, if he can kill all his murderers within 24 hours.
Essentially, Dead in Tombstone is one of Danny Trejo’s best movies, capitalising on his leading man success in Machete (2010). With his intimidating appearance and badass action star prowess, Trejo was born to lead a western production. Additionally, whereas other actors are obviously posturing as tough guys, Trejo’s real criminal past textures Dead in Tombstone with noticeable verisimilitude. With a story influenced by The Crow (1994), this flick enjoyably amalgams the western with fantasy.
The stunning action set pieces are shot with handheld cameras. This bestows Dead in Tombstone with a fresh, visceral immediacy, previously unfelt in the genre. Moreover, the production design is of the highest calibre, with artful, authentic sets and costumes. Unfairly maligned, Dead in Tombstone is, in fact, hugely entertaining and deserving of more praise. The sequel, Dead Again in Tombstone (2017), is similarly delightful for western devotees. It includes Civil War soldier zombies.
7. Forsaken (2015)
Former criminal John Henry Clayton (Kiefer Sutherland) returns home to his preacher father (Donald Sutherland). John is compelled to revoke to his gunslinging when trouble plagues the town. Demi Moore and Brian Cox co-star.
With its patient pacing and classic storyline, Forsaken harkens back to the genre’s golden age in the 1950s. The casting of Kiefer and Donald Sutherland in a father-son conflict creates an added, moving layer of realism. Indeed, Forsaken is as much a family drama as it is an excuse for thrilling gunplay. The film’s centre is a debate around Christian morality and redemption. The script separates Christian theology from the church’s establishment, conveying spiritual wisdom. Furthermore, Forsaken is affecting for its tragic depiction of lost love, brought to life through Demi Moore’s performance.
8. Outlaws and Angels (2016)
In New Mexico, 1887, three desperadoes hold a family hostage in their farmhouse. Following in her father’s footsteps, Francesca Eastwood headlines. She is aided by Luke Wilson and Meet the Parents’ Teri Polo.
Upon its release, Outlaws and Angels garnered negative reviews. Aside from its proficiency in all artistic areas, the lighting, acting and cinematography, where the movie outdoes other westerns is through its message. Crucially, the screenplay addresses issues of bullying and child abuse. Through its heartbreaking depictions of vituperation and ruthless violence, audiences are shown the psychological effects of bullying. This illustration makes Outlaws and Angels a protest against verbal, physical and sexual abuse. It functions to dissuade audiences from perpetrating such actions themselves, forcing them to reflect upon their own morality.
Luke Wilson delivers the most atypical part of his career. Like Wilson’s other characters, Josiah is likeable, upstanding and soft-spoken. However, this is juxtaposed with instances of Josiah’s unexpected anger and sudden violence. Coming from Wilson, this behaviour is jarring. Conversely, such complexity makes Josiah a three-dimensional character. Josiah possesses good and bad traits like real-life individuals and is not merely a genre archetype. He is reflective of the true character of men in the 1880s. In summation, Outlaws and Angels is a far better film than reviews have suggested, with an intellectual core warranting a serious reappraisal.
9. The Kid (2019)
Blending fact with fiction, The Kid chronicles Pat Garrett’s (Ethan Hawke) apprehension of Billy the Kid (Dane DeHaan). A traumatised brother and sister on the run accompany Garrett, as he transports Billy to his execution.
Why do some actors fall by the wayside, whilst others enjoy long careers? One possible reason is that actors who persist in Hollywood communicate a wider purpose with their performances. For instance, Philip Seymour Hoffman was interested in delving into the uncomfortable, un-talked about recesses of the human experience. John Wayne was concerned with upholding traditional American values. Likewise, Ethan Hawke is a purposeful actor who stands out from the rest. In light of his roles and off-screen comments, it is arguable that Hawke’s work is emblematic of compassion — the crusade of kindness against evil.
Hawke’s wider intention not only gifts The Kid with heart, it contributes to the script’s message. The Kid asks ‘what makes a good person?’, examining the influence of role models. The conflict between good and evil is apparent in one of the film’s more philosophical quotes. “Sometimes, when I’m alone, I get this feelin’. Like nothing’s good or ever’s gonna be. And I try tellin’ myself the feelin’ ain’t real.” The Kid is Vincent D’Onofrio’s (Full Metal Jacket) second feature film as a director, after Don’t Go in the Woods (2010). His precise vision and skilful direction facilitates poignant performances. Cast against type, Chris Pratt unusually makes for a notably direful villain.
10. The Old Way (2023)
In the 1870s, Colton Briggs (Nicolas Cage) was a bloodthirsty gunfighter. Twenty years later, he lives a peaceful life as a husband, father and general store owner. However, James McAllister (Noah Le Gros) wants revenge for Briggs’s murder of his father. The film is bolstered by performances from Nick Searcy (Justified) and Clint Howard (My Name is Earl).
The Old Way is Nicolas Cage’s premier foray into the western genre. While it may not be his best film, its importance lies in its thematic concerns. In a typical story, The Old Way portrays the pull between right and wrong, animal instinct vs. civilised behaviour, nature vs. nurture. It details a moral grey area in its characters, embodied through Briggs’s influence upon his daughter. The script asks ‘is violence ever justified?’, citing self-defence and vengeance. Withal, The Old Way is ultimately an entertaining repetition of western tropes, satisfactory enough to slake the genre’s fans.