64
Based on 5 Critics
75
Based on 2 Users
  • 100

    Hill wants the viewer to read his frames, not his dialogue; lighting, angles and cut ting carry the weight of meaning. Perhaps he sends too many people to meet their maker in balletic slow-motion. But that is only a small reservation. Hill is very much in the American grain, the inheritor of the Ford-Hawks-Walsh tradition of artful, understated action film making. show more

  • What’s ultimately missing is a definable point of view which would tie together the myriad events on display and fill in the blanks which Hill has imposed on the action by sapping it of emotional or historical meaning. show more

  • Concentrating on familiar rituals - the funeral, the hoe-down, the robbery (a stunning tour de force in slow motion) - Hill pays tribute to such directors as Ford, Hawks and Ray, emphasises the mythic aspects of the Western, and focuses on the subjects of kinship and the land (probably suggested by Scotsman Bill Bryden's screenplay). This last theme is emphasised by Hill's coup of casting real-life brothers as the members of the gang. A beautiful, laconic and unsentimental film. show more

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