If you consider the diverse range in tone and distinction of recent revisionist Westerns like Alejandro Iñárritu’s The Revenant (2015), Quentin Tarantino’s dyad The Hateful Eight (2015), and Django Unchained (2012), the artful horror hybrid of S. Craig Zahler’s Bone Tomahawk (2015) and Kelly Reichardt’s first-rate feminist horse opera Meek’s Cutoff (2010), just to name […]