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Dr. Louis Creed and his wife, Rachel, move from Boston to Ludlow, in rural Maine, with their two young children. Hidden in the woods near the new family home, Ellie, their eldest daughter, discovers a mysterious cemetery where the pets of community members are buried. Pet Sematary 2019 review : The things that this 2019 _Pet Sematary_ add to the original may not strictly speaking be improvements, but at least it's not a shot for shot remake, which it was looking like it might have been based on the trailers. A couple of those additions I was not particularly fondof, one's a massive spoiler so I'll let that slide, but the biggest one I knew going into it, 'cause of the trailers, which is: As much as I appreciate John Lithgow, I really wish they had kept this guy (or an emulation of him, I more mean) on as Jud Crandall.
Unrelated sidenote, but when I was young (and I found out about _Pet Sematary_ overall through the Ramones song of the same name) my dad always told me that it was called _Pet Sematary_ and not _Pet Cemetary_ because Americans spelt it that way. That guy lied about... Just everything.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._ _**Not a patch on the book, and the new ending is awful**_
> _This place was thick with spirits; it was tenebrous with them. You could look around and see something that would send you raving mad. He would not think about it. There was no need to think about it. There was no need to –_
> _Something was coming._
> _Louis came to a total halt, listening to that sound…that inexorable, approaching sound. His mouth fell open, every tendon that held his jaw shut simply giving up._
> _It was a sound like nothing he had ever heard in his life - a living sound, a big sound. Somewhere nearby_, _growing closer, branches were snapping off. There was a crackle of underbrush breaking under unimaginable feet. The jellylike ground under Louis's feet began to shake in sympathetic vibration. He became aware that he was moaning._
> _(_oh my God oh my dear God what is that what is coming through this fog?_)_
> _Whatever it was, it was huge._
> _Louis's wondering, terrified face tilted up and up, like a man following the trajectory of a launched rocket. The thing thudded toward him, and there was the ratcheting sound of a tree - not a branch, but a whole tree - falling over somewhere close by._
> _Louis saw something._
> _The mist stained to a dull slate-gray for a moment, but this diffuse, ill-defined watermark was better than sixty feet high. It was no shade, no insubstantial ghost; he could feel the displaced air of its passage, could hear the mammoth thud of its feet coming down, the suck of mud as it moved on._
> _For a moment he believed he saw twin yellow-orange sparks high above him. Sparks like eyes._
> _Then the sound began to fade. As it went away, a peeper called hesitantly - one. It was answered by another. A third joined the conversation; a fourth made it a bull session; a fifth and sixth made it a peeper convention. The sounds of the thing's progress (slow but not blundering; perhaps that was the worst of it, that feeling of sentient progress) were moving away to the north. Little...less...gone._
> _At last Louis began to move again. His shoulders and back were a frozen ache of torment. He wore an undergarment of sweat from neck to ankles. The season's first mosquitoes, new-hatched and hungry, found him and sat down to a late snack._
> The Wendigo, dear Christ, that was the Wendigo - the creature that moves through the north country, the creature that can touch you and turn you into a cannibal. That was it. The Wendigo has just passed within sixty yards of me.
> _He told himself not to be ridiculous, to be like Jud and avoid ideas about what might be seen or heard beyond the Pet Sematary - they were loons, they were St. Elmo's fire, they were the members of the New York Yankees' bullpen. Let them be anything but the creatures which leap and crawl and slither and shamble in the world between. Let there be God, let there be Sunday morning, let there be smiling Episcopalian ministers in shining white surplices…but let there not be these dark and draggling horrors on the nightside of the universe._
- Stephen King; _Pet Sematary_ (1983)
In Stephen King's celebrated (and massive) _oeuvre_, his 1983 novel _Pet Sematary_ (the misspelling is intentional) is something of a curio. Although reasonably well received at the time, critics have never considered it worthy of the kind of attention lavished on work such as _The Shining_ (1977), _The Stand_ (1978), _The Deadzone_ (1979), _The Dark Tower_ series (introduced in 1982), _It_ (1986), _Misery_ (1987), _The Green Mile_ (1996), or _Under the Dome_ (2009). Fans of King, however, have long championed it as one of his most emotionally devastating and philosophically complex works, whilst King himself considers it the scariest novel he's ever written. And although on the surface, the plot is as schlocky as they come, buried underneath is an examination of grief and how it can compromise one's ability to act rationally. Much as _The Shining_ was really about alcoholism and a descent into madness, _Pet Sematary_ is about emotional trauma, guilt, the importance of family, and the question of what happens after we die.
Written by Jeff Buhler (_The Midnight Meat Train_; _The Prodigy_), from an initial script by Matt Greenberg (_Halloween H20: Twenty Years Later_; _Reign of Fire_; _1408_), who's credited with "screen story by", and directed by Kevin Kölsch and Dennis Widmyer (_Starry Eyes_), _Pet Sematary_ comes in the midst of something of a resurgence for the Stephen King adaptation industry. Recent adaptations include Nikolaj Arcel's risible _The Dark Tower_, Mike Flanagan's excellent _Gerald's Game_, Andy Muschietti's massively successful and massively overrated jump-scare-reliant _It: Chapter One_ (all 2017), with Flanagan's _Doctor Sleep_, Muschietti's _It: Chapter Two_, James Wan's _The Tommyknockers_, and Mike Barker's _The Talisman_ (amongst others) currently in production, whilst on the small screen, _Mr. Mercedes_ is entering its third season and _Castle Rock_ its second, with new versions of _The Stand_ and _The Dark Tower_ forthcoming. However, for me, much like _It: Chapter One_, _Pet Sematary_ doesn't really work. It's certainly better that Mary Lambert's 1989 filmic adaptation, for which King himself wrote the script, but it pales in comparison to the novel. Granted, most films suffer when compared to a source text; even Stanley Kubrick's _The Shining_ (1980), although a masterpiece as a standalone film, is a terrible adaptation of the novel. _Pet Sematary_, which relies far too heavily on jump scares, is especially disappointing in this sense insofar as it starts off very strongly, taking care to respectfully modernise the novel's themes and examine the characters' underlying emotions, before descending into absolute stupidity in the last act. King was fully on board with the film (he was fully on board with _The Dark Tower_ too), but Buhler changes numerous aspects of the story; some of these changes work very well, but many don't, with a new ending, in particular, substituting cheap shock for the lingering sense of psychological and esoteric hopelessness with which King's original so memorably concludes.
Louis Creed (the prolific Jason Clarke), a doctor from Boston, moves to the town of Ludlow, Maine with his wife Rachel (Amy Seimetz), their eight-year-old daughter Ellie (Jeté Laurence), three-year-old son Gage (Hugo and Lucas Lavoie), and Ellie's beloved cat, Church. In the woods surrounding their house, Ellie finds a pet cemetery but is cautioned against exploring further by their friendly neighbour, Jud Crandall (John Lithgow). Several weeks later, Louis and Jud find Church dead, and Jud, who has grown very close to Ellie and doesn't wish to see her suffer, takes Louis to an ancient Mi'kmaq burial ground behind the cemetery, instructing Louis to bury Church. The next day, Louis is stunned when Church returns home, although considerably more aggressive than before he died. Jud explains that anything buried in that place comes back to life, although very different from how it was, with local legend suggesting that returnees are possessed or controlled by some sort of malevolent spirit. A few days later, the Creed family suffers an unspeakable tragedy, and guessing what Louis plans to do, Jud tells him not to return to the burial ground. Louis, however, has no intention of heeding his warnings.
King's _Pet Sematary_ is a very loose retelling of W.W. Jacob's 1902 short story, "The Monkey's Paw" from _The Lady of the Barge_ anthology, in which a man is given three wishes, setting off a chain of events that results in the death and subsequent resurrection of his son. When the film version was first revealed, there was a lot of online grumbling about the big change from the original - it's Ellie and not Gage who is killed in the film, and whom Louis decides to bring back (if this was supposed to be a twist, someone forgot to tell the marketing people, because it's right there in the trailer). Speaking to _Flickering Myth_, Clarke defended the change, explaining,
> _it's pretty easy to justify. You can't play that movie with a three-year-old boy. You end up with a doll or some animated thing. So you're going to get a much deeper, richer story by swapping for a seven-year-old or nine-year-old girl. The reward will come. People who are upset will hopefully see the benefit of it. But a lot of people didn't have an issue. Stephen King didn't have an issue with it._
He makes a good point. Indeed, speaking to _EW_ the following month, King himself said,
> _it's something different. They did a good job. Boy, I saw all the stuff that came online when people realised that it was Ellie rather than Gage that got run over in the road, and I'm thinking like, "Man, these people..." It's so nuts. You can take Route 301 and go to Tampa, or you could take Route 17 and go to Tampa. But both times, you're gonna come out at Tampa! You know what I'm saying? It didn't change anything for me. I thought, "Okay, I understand why they did it, because it's maybe easier to work with a zombie when she's a little girl than a toddler"._
Personally, I think the alteration actually improves the story - as in the novel, it's Ellie with whom Louis and Rachel have portentous conversations about what happens after we die, and having her be the one killed establishes a more coherent thematic through-line.
Speaking of themes, much like the novel, the film is primarily focused on grief. I've always loved King's ability to "hide" serious themes behind what are ostensibly rote horror stories (he's so good at hiding them that literary academics don't believe they're even there, refusing to afford him a place on the canon); in 2003, Yale University's Sterling Professor of Humanities Harold Bloom famously said,
> _the decision to give the National Book Foundation's annual award for "distinguished contribution" to Stephen King is extraordinary, another low in the shocking process of dumbing down our cultural life. I've described King in the past as a writer of penny dreadfuls, but perhaps even that is too kind. He shares nothing with Edgar Allan Poe. What he is is an immensely inadequate writer on a sentence-by-sentence, paragraph-by-paragraph, book-by-book basis. The publishing industry has stooped terribly low to bestow on King a lifetime award that has previously gone to the novelists Saul Bellow and Philip Roth and to playwright Arthur Miller. By awarding it to King they recognise nothing but the commercial value of his books, which sell in the millions but do little more for humanity than keep the publishing world afloat. If this is going to be the criterion in the future, then perhaps next year the committee should give its award for distinguished contribution to Danielle Steel, and surely the Nobel Prize for literature should go to J.K. Rowling._
In 2014, he told the BBC, "_Stephen King is beneath the notice of any serious reader who has experienced Proust, Joyce, Henry James, Faulkner and all the other masters of the novel_".
And yes, _Pet Sematary_ does feature a sentient zombie child, so it's unlikely to ever achieve the status of the fiction of, say, Virginia Woolf, but its core is the emotional trauma suffered by Louis and how his uncontrollable grief drives him to do something unspeakable. His heartache is such that his logic centre simply stops functioning; not only does he completely accept the fact that Ellie can be brought back, but he also ignores Jud's warnings that she will not be his Ellie. Like in the book, he's a man of science, who clashes with Rachel about what to tell Ellie regarding death - she wants to talk about an afterlife, he wants to focus on the finality of death as something natural and unavoidable. This is a smart choice by King, as Louis becomes the one who refuses to let death have the final word, with his conscious mind unable to accept the random tragedy that has befallen him, and whose entire purpose in life comes to be focused on the fact that Rachel was (at least in part) correct, that there is something after death. He must forget everything he has ever known about the corporeal world in order to travel the path down which Ellie's death launches him; this gives him an inbuilt arc, from a man of medicine to a believer in resurrection.
Rachel's arc, and again, this is excellent writing by King and well handled in the film, moves in the opposite direction to Louis's - she accepts the finality of Ellie's death, and reacts in horror when she learns what her husband has done. Her arc is rendered more complex insofar as she also suffers crippling guilt because of the death of her sister Zelda (Alyssa Brooke Levine) when they were still children. Suffering from severe spinal meningitis, Rachel couldn't help but look at Zelda as a monster. One night, whilst their parents were out, Rachel made dinner for Zelda, but because she was afraid of her, rather than bringing it to the room in which Zelda was confined, she used the faulty dumb waiter to send it to her, leading to Zelda falling into the shaft and breaking her neck (a hideous death unflinchingly depicted in the film). Whereas Louis's arc is more concerned with the question of what it takes for a rational man to abandon everything he knows to be unassailably true about the nature of existence, Rachel's looks at questions of survivor guilt and how one is supposed to come back from having one's life shattered (of course, it's the very fact that Rachel had this early-life trauma that gives her the tools with which to cope with Ellie's death).
This is seriously heavy, unsettling stuff, and it's how King engages with it that has made the novel such a fan-favourite. And for about two-thirds of the runtime, the film deals reasonably convincingly with these issues. Sure, it moves faster than the novel, but that's more to do with the nature of medium than anything else. Even after Louis brings Ellie back, the film is still fairly leisurely paced, letting us observe his disintegrating mental state (one especially good scene sees him lying in bed next to the newly resurrected Ellie, with Clarke playing him as a man trying to convince himself that what is happening is perfectly normal). Whereas Kubrick largely ignored the themes of alcoholism and abuse in _The Shining_, Kölsch and Widmyer go in the opposite direction - grief and guilt are really the only things on which they focus. At least up to the point when they seem to forget about them entirely, as the third act descends into a ridiculously campy series of murders, attempted murders, and all-round violence, reminding me of the end of Shakespeare's _Titus Andronicus_, where Lucius kills Saturninus because Saturninus killed Titus because Titus killed Tamora because Tamora had Lavinia raped because Titus defeated Tamora in battle.
The last half-hour or so of the film is as superficial and immature as anything in any King adaptation, and the new "twist" ending not only doesn't work on its own terms, it completely undercuts both King's original themes, and how well the film itself had handled those themes earlier on, replacing King's bleakly poetic _dénouement_ with something right out of "_horror clichés for dummies_". In general terms, I've no problem with filmmakers altering the end of a literary adaptation; the finale of Frank Darabont's _The Mist_ (2007), for example, is completely different from King's novel, but it replicates the tone and spirit of the original, eliciting similar emotions from the audience. However, if you're going to alter the end of an adaptation, you absolutely need something that works, both in the context of the adaptation itself, and in its relationship to the original. _Pet Sematary_'s new ending does neither. The whole point of the end of the novel was that Louis learns nothing from his experience bringing Gage back, convincing himself that there were tangible reasons it didn't work, and under different circumstances, Gage would have returned as the Gage he was in life. The tragedy of the novel is that, lost in madness and despair, Louis repeats his mistakes. The end of the film has none of this, with the final shot more of a silly "dun-dun-duuuun" moment than anything with any emotional complexity.
The new ending may be the biggest problem, but it's by no means the only one. Another is something common to many films - an overly idealised family. An especially egregious example of this was Jordan Peele's _Us_ (2019), and there's more of the same here; much more so than in the novel, the Creeds are a picture postcard family, where everybody just loves everybody else so much, dad is always cracking jokes, sister hates annoying little brother (but loves him really), and parents talk to their kids like they're already fully grown adults. It's easy to see why this trope is usually found in horror and revenge movies - the more idealised the depiction when everything is going well, the more heartbreaking it will be when things go wrong. But just because the purpose is apparent, doesn't mean it isn't a cliché, and the Creeds of the film elicit some serious eye-rolling. Another big problem is the aforementioned trailer, which not only tells us about the switch from Ellie to Gage, but which also gives away a major plot point from just prior to the finale, which, if I hadn't already known about from the novel, would have been ruined. Speaking of Ellie, she doesn't just get hit by a truck, she's flattened by a massive tanker that should have turned her into a pancake, but when Louis picks her body up, she's still whole, and when we see her in the coffin, there's literally not a mark on her. Why make the crash so spectacular in the first place when the body has to be intact for the rest of the movie?
The film also leaves out a lot (almost all) of the backstory concerning the burial ground. So, there's no extended flashback telling the story of Bill Bateman and what happened when he resurrected his son Timmy, whose body had been shipped home after he was killed in WWII, although Louis does briefly come across a news article about a Vietnam veteran named Timmy Bateman who returned from the dead many years previously. Additionally, the rich mythology of the burial ground and the role of the Wendigo (an evil necromantic spirit spoken of in Algonquin folklore) is mostly absent; Louis sees a picture of the Wendigo in a book (that's in the trailer too), but it's unnamed, and later, he thinks he sees something in the distance of the fog-shrouded forest, but that's as close as we ever get to the spirit that turns up a couple of times in King's mythology (as well as _Pet Sematary_, it also features in _The Girl Who Loved Tom Gordon_). These changes aren't overly surprising, however, as they speak to the streamlining that all narratives must undergo when being adapted for the screen.
There is one extremely irritating omission, however. In the film, Jud is full of dire warnings about the evil of the burial ground and the danger of using its powers ("_sometimes, dead is better_"; "_that place has a power...its own evil purpose_"), which makes you wonder why he told Louis about it in the first place. The film tries to explain this by showing us that Jud doesn't want to see Ellie upset over Church's death, which makes not a lick of sense and is grossly out of character, evidenced by the fact that literally the day after showing Louis the burial ground, Jud is already warning him about its dangers. In the novel, however, he has a different reason. When his wife, Norma (absent from the film), has a heart attack, Louis saves her life, and in return, Jud tells him about the burial ground by way of thanks. It's still a poor way of having Louis learn about the site, but it's a damn sight better than "_I didn't want your daughter to be upset about her cat dying, so I'm going to tell you how to make a demon cat!_"
As a novel, _Pet Sematary_ is a study of grief and childhood trauma first, a horror narrative second. Investigating our psychological reaction to death, the book probes how far we might go to ensure a loved one never leaves us. As a film, _Pet Sematary_ seems to be charting a similar course, until it abandons this tack in favour of a shock-for-shock's sake ending. Much like _It: Chapter One_, there is an over-reliance on predictable and silly jump scares, and ultimately, what could have been a mature and emotionally affecting story gives in to the worst excesses of the genre, betraying both itself and the original novel. A place to bury our pets and remember them. I know it seems scary, but it's not. Perfectly natural, just like dying is natural.
Directed by Kevin Kölsch and Dennis Widmyer and written by Stephen King, Matt Greenberg, Jeff Buhler. It stars Jason Clarke, Amy Seimetz, John Lithgow, Jeté Laurence and Hugo and Lucas Lavoie. Music is by Christopher Young and cinematography by Laurie Rose.
Dr. Louis Creed and his wife, Rachel, move from Boston to Ludlow, in rural Maine, with their two young children. Hidden in the woods near the new family home, Ellie, their eldest daughter, discovers a mysterious cemetery where the pets of community members are buried.
Not as bad as I was fearing it would be, but is it really any better than the original film?. Itself a simply ordinary adaptation from what is a very good book, you would have thought the 2019 version would at least bring some fresh life to the story. Yet albeit that some changes have been made (one of which was moronically shown in the trailers), it's still a re-tread that has failed to entice newcomers to this world.
There's some good on show, though. Child actor Jeté Laurence is excellent, particularly in the latter part of the pic. The design for the Pet Sematary and the surrounding areas are splendidly eerie, with photographer Rose deserving a better film really. While the sound work out at the special place is also bang on the tonal money.
The ending has provided much division, but personally it was a change that I liked. Two writers and two directors came up with this adaptation, but they didn't get much right between them and the pic feels like a compromised cash cow. Stick with the book and get The Ramones album of the same name instead. 6/10
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Oregon, 1851. Hermann Kermit Warm, a chemist and aspiring gold prospector, keeps a profitable secret that the Commodore wants to know, so he sends the Sisters brothers, two notorious assassins, to capture him on his way to California. The Sisters Brothers 2018 review : Certainly the better of the two Westerns I've seen today, but I'm also not really feeling the love with _Sisters Brothers_ like everybody else seems to be.
_Final rating:★★½ - Had a lot that appealed to me, didn’t quite work as a whole._ _**A plodding and overlong tale of violence and redemption that doesn't seem to know quite what it's trying to say**_
> _You are afraid of hell. But that's all religion is, really. Fear of a place we'd rather not be, and where there's no such a thing as suicide to steal us away._
- Patrick deWitt; _The Sisters Brothers_ (2011)
_The Sisters Brothers_ is a film set in the American Old West, based on a book by a Canadian, made by a mostly French crew, shot primarily in Spain and Romania, featuring a Brit as an American, an American as a Brit, and a British trans comedian as a ruthless American businesswoman. And I don't bring this up out of mere frivolousness; rather, a certain element of schizophrenia is built into the film's very DNA. On the surface it's a Revisionist Western with a gritty Spaghetti aesthetic focusing very much on a group of anti-heroes, but it's also a story of two brothers getting on one another's nerves, a tale of avarice and the destructive potential of progressive thinking, a chase movie, a dark comedy, a tragic fable, an examination of the days when the Old West was giving way to an ever-encroaching modernity, a look at how the sins of the father are oft repeated by the children, a study of competing types of masculinity, and even a political thesis, postulating that there was a time in American history when certain people genuinely believed they could build a harmonious society based on direct democracy and the kind of socialist attitude to capitalism that would make even Bernie Sanders blush.
The English language debut of French director Jacques Audiard, who adapted the script with his regular writing partner Thomas Bidegain from Patrick deWitt's 2011 novel of the same name, the film posits that even those who seem irredeemable may one day find a path to redemption. Very much of a piece with Audiard's more celebrated humanist work such as _De battre mon cœur s'est arrêté_ (2005), _Un prophète_ (2009), and _Dheepan_ (2015), _The Sisters Brothers_ works primarily as a character study about people trying to do what they feel is right in a world arrayed against them. Unfortunately, it did next-to-nothing for me. I wouldn't say it's a bad movie, as it clearly has a lot going for it; not the least of which is an unapologetic foregrounding of character over plot. However, its episodic rhythm, bifurcated narrative structure, and poorly-defined morality left me unengaged, frustrated, and rather bored.
1851; the height of the California Gold Rush. In Oregon, Charlie Sisters (Joaquin Phoenix) and his older brother Eli (John C. Reilly) are hired guns working for "The Commodore" (a criminally underused Rutger Hauer). Far more sensitive and thoughtful than his younger brother, Eli is growing weary of the lifestyle, wanting to retire, settle down, and open a grocery store. The more unpredictable and volatile Charlie, however, wants to keep on killing indefinitely. After a mission descends into disarray, Eli is unimpressed when The Commodore appoints Charlie as "lead man" for their next quarry; a mild-manner chemist named Hermann Kermit Warm (Riz Ahmed). Telling Eli that Warm has stolen something from The Commodore which they are to retrieve, Charlie is under orders to keep their real purpose to himself for the time being. Unsure of Warm's exact location, The Commodore has already sent highly-intelligent tracker John Morris (Jake Gyllenhaal), a man too gentile for killing, to pick up his trail and detain him until the brothers catch up. Keeping them abreast of his progress via a series of letters, it doesn't take long for Morris to find Warm, telling the brothers he will await them in Jacksonville. However, when Warm learns that The Commodore has sent men after him, he explains to Morris that he has created an elixir that when poured into a river, will illuminate any gold deposits on the river bed, with the only catch being that the potion is extremely caustic, and any sustained exposure results in severe burns. Recognising that Morris is only an advance, he guesses that whoever is still to come is under orders to torture the formula out of him and then kill him. Learning that Warm doesn't want to use the gold for himself, but to help establish "_an ideal living space, ruled by the laws of true democracy and sharing_", Morris decides to join him, and they head to San Francisco in an attempt to evade the approaching brothers.
A passion project for star and producer John C. Reilly, who purchased the rights to deWitt's novel shortly after it was published, it was he who first brought the material to Audiard's attention. One of the best-reviewed films at the 2018 Venice Film Festival, where it won Audiard his first Silver Lion for Best Director, when the film went on general release in North America later the same month, it flopped badly, earning only $3 million against a $38 million budget. That's a shame, as Audiard is immensely talented, and although I personally didn't enjoy this particular film, he deserves as much success as he can get. In terms of the novel, I don't know a huge amount about it, but I would imagine Warm's desire to build a Phalanstère in Dallas is inspired by La Réunion, a Fourierist-based utopian community founded in 1855 by Victor Prosper Considerant on the banks of the Trinity River. Wishing to make La Réunion a "communal experiment administered by a system of direct democracy", Considerant planned to allow participants to share in profits from capital investments. However, the settlement lasted only 18 months before financial insolvency, shortage of skilled participants, inadequate farming methods, and untenable maintenance costs led to its dissolution.
As one would expect from Audiard, working with his regular editor Juliette Welfling (_Le scaphandre et le papillon_; _The Hunger Games_; _Ocean's 8_) and production designer Michel Barthélémy (_Dobermann_; _Les salauds_; _Frantz_) and for the first time with cinematographer Benoît Debie (_Irréversible_; _Lost River_; _One More Time with Feeling_) and costume designer Milena Canonero (_Barry Lyndon_; _Chariots of Fire_; _The Grand Budapest Hotel_), the film looks amazing. Very much adopting the visual style of a Spaghetti Western, everything on screen looks dirty and/or dusty, whether it's the worn and lived-in costumes, the spartan and uncared for buildings, or even the perpetually unshaven characters and their rotting teeth (an historically accurate detail absent in most modern westerns). Of particular note are the shootouts, of which there are three significant examples. The first takes place at night, and is shot from a distance and without much in the way of coverage; the second is shot primarily from the point of view of two characters doing their best to hide; and the third isn't seen at all - we remain inside as the shooting can be heard on the street.
This should convey, as well as anything, just how revisionist _The Sisters Brothers_ is; the genre's tropes are all there, but they're examined from unexpected angles. A bear attack on a camp is not only not seen, it's not even heard, with our first indication of the incident being when one character wakes up to find another has shot and killed a bear during the night; men are seen riding horses, but when a horse is mortally wounded, the man to whom he belongs cries and apologises; whisky is drunk aplenty, but one character would rather sit alone thinking about home than go whoring or drinking; a film about hired guns ends on a shot of a man sitting in a bath; the anticipated climatic shootout plays out in a manner you'll never see coming. If it does nothing else, the film really drives home that to be able to truly subvert generic tropes, one must first understand and respect how those tropes work.
The film opens with an extraordinarily beautiful and striking scene. It's night on the prairie, which is so dark, we can make out only the barest outline of a house, with a smaller building nearby. After some shouted dialogue, a shootout begins between the house and the smaller building, with each booming gun blast sending out sparks and illuminating for a micro-second the surrounding area. Having vanquished their opponents, the brothers are about to leave the area, when they see a horse, its back covered in flames, galloping away, trying to outrun the fire from which it doesn't understand it can never escape. Realising the barn is on fire, Eli dashes in to try to save the trapped horses, whilst Charlie urges him to remain outside. Is the metaphor of the burning horse a little on the nose? Absolutely; try as they might, the brothers can never escape that which brings them pain, no matter how far or fast they run. But just because it's not exactly subtle doesn't mean it's ineffective, and as opening visual metaphors go, it's as striking an example as you're likely to find. The scene also immediately establishes the differences between Eli (who would risk his own life to save a group of horses) and Charlie (who sees no point in such sacrifices).
In relation to the _milieu_, yes, this is the Old West of John Ford, Anthony Mann, and Sergio Leone, but Audiard defamiliarises it as much as possible. A recurring theme, for example, is that this is a world on the brink of modernity, but whose inhabitants are still very much rooted in the past. This is depicted via a running gag about Eli's fascination with a curious modern invention (the toothbrush; so complicated a device, it comes with an instruction manual), and his childlike glee at staying in a hotel with indoor plumbing. Elsewhere, Morris remarks on how quickly the country is changing, writing, "_I have travelled through places that didn't exist three months ago. First tents, then houses, then shops, with women fiercely discussing the price of flour._" Additionally, Warm's progressive egalitarian vision for the future and his desire to use his formula to create a better society for all, allows the film to examine the belief (however short-lived) that out of the lawlessness, land thievery, and Native American genocide, a certain section of the populace hoped a more mutually beneficial society might arise.
However, Audiard, of course, is not naïve enough to suggest that the Old West was especially peaceful or safe; although on the cusp of modernity, this is still a merciless place where violence is a form of currency. But even here, he subverts the genre, using a recurring motif of either Charlie or Eli shooting an already downed opponent pleading for his life, which is certainly not what we've come to expect from the (figurative) white hat protagonists so familiar in Hollywood westerns. Coupled with this, there's the ever-present background of the Gold Rush, and the mercenary mentality it fostered. Indeed, the whole plot is set in motion by The Commodore's greed, and as the film goes on, it comes to focus more and more on the clash between a Darwinian survival of the fittest, might is right mentality (represented by Charlie) and a more esoteric and politically progressive way of thinking (represented by Warm), with Eli and Morris functioning as something of a halfway house between the two extremes.
In terms of acting, Phoenix, Gyllenhaal, and Ahmed all have moments to shine (a monologue in which Morris describes his hatred for his father is especially worth looking out for), but this is Reilly's film through-and-through, turning Eli from a possibly oafish sidekick into an achingly human emotional fulcrum. His nuanced performance allows us to see just how badly Eli's conscience is affecting him, and how much he is drifting away from the increasingly amoral Charlie. Eli has no desire to split with Charlie, but he is slowly coming to the conclusion that he may have no option but to do just that. It's an extraordinarily subtle performance by Reilly, that reminded me a lot of his work in Paul Thomas Anderson's _Magnolia_ (1999), where he played a cop in love with a drug addict who shows unexpected emotional vulnerability, and Rob Marshall's _Chicago_ (2002), in which he played the dim but loyal-to-a-fault husband who emerges as the film's only really moral character. His unexpected affection for his horse is especially poignant, and his tendency to sniff a shawl given to him by his girlfriend is beautifully played by Reilly.
However, for all this, I really disliked the movie, for a myriad of reasons. For one, I found it far too episodic, lurching from one incident to next with little in the way of connective tissue between them. I also didn't particularly like the shifts in focus from the brothers on the one hand to Morris and Warm on the other, with each strand serving only to detract from the other, making it impossible for either to fully settle. A knock-on from this is that the film lacks a strong lead character; although everything suggests that Eli is the protagonist, Phoenix is billed above Reilly, and a lot of the time, Eli seems more like Charlie's sidekick than his equal, making it difficult to figure out where one's empathy is supposed to lie. This difficulty becomes especially problematic in relation to the morally questionable _dénouement_, in which there is an incident which seems designed for the audience to roundly condemn one of the main characters, only for the film to then give us a 15-minute epilogue seemingly designed to redeem him.
This throws into relief what for me was the most egregious problem - none of what we see seems to mean anything, there are virtually no consequences for anything the brothers do (although plenty of consequences for others). This left me scratching my head as to what the film is trying to say. Is it suggesting that even the most morally repugnant of men deserve a shot at redemption? If that is the case, however, its rhetorical position is not especially cogent, as the character mentioned above in no way deserves redemption, allowing his greed and stubbornness to cause untold suffering to others whilst he gets off relatively scot-free. Furthermore, the aforementioned epilogue is hugely anticlimactic, which, I understand, is kind of the point, but it's still a very strange way to wrap things up, feeling forced and emotionally manipulative, completely out of tonal and thematic pace with the rest of the film, and also undermining what could have been a deeply affecting bittersweet final scene. The film is also far too long, and could easily have lost a half hour or more, with the meandering plot becoming interminably boring on more than one occasion.
As a kind of an aside, it's also worth mentioning an aesthetic decision that has me baffled. On occasion, the film is shot within a circular frame (think of how films often simulate POV through a telescope), often combined with racked focus and unsteady photography. I'm assuming the idea is to try to replicate the style of a Kinetograph, but given that device wouldn't be invented for another four decades, I'm not entirely sure what the point is, as the scenes which employ the style don't seem to contain anything to justify the usage. An especially strange example is a scene which sees Charlie speaking direct-to-camera, the only example of such in the whole film. Is this a break in the fourth wall, and if so, why? If it isn't a break, from whose POV is the scene shot? This kind of unjustified visual trickery pulls you right out of the film and offers next-to-nothing in the way of thematic compensation.
The four performances at the heart of _The Sisters Brothers_ earn it a great deal of leeway. But even taking that into account, I just couldn't get into it. Far too plodding and thematically unfocused, although I initially liked the characters a great deal, by the last act, I just wanted it to end already. It's certainly original in how it approaches a number of generic tropes, and that's to be commended, but the imprecise and poorly constructed episodic narrative saps away the goodwill built up by the aesthetic design and the acting. Is it a western? A comedy? A tragedy? An esoteric political piece? A realist depiction of greed trumping idealism? In the end, it doesn't seem to know itself, trying to be many things, and ending up being none of them.
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