A traditional, well-made western - suitable for most ages, features good guys herdin' cattle, bad guys tryin' to steal the cattle, codes of honour, a corrupt sheriff, a fantastic shoot-out, and Annette Bening being lovely in the wings. Open Range doesn't do anything particularly new, it just does it particularly well. For actor/director/producer Kevin Costner, it seems to have been a labour of love and one that has paid off handsomely. The characters are well fleshed out, it has plenty to appeal to adults (men and women) rather than being just a boys-with-guns film. The qualities of the main heroes are likeable - they value the trust, respect and confidence that is given them and realise the value of these things. Open Range is no high and mighty moraliser however; there are plenty true-to-genre one-liners, such as "You're nothing!" (grim-faced, cornered bad guy) - "Maybe so," (good guy pointing a gun at him), "but I'll still be breathing in another minute!" Towards the end of the film they also battle with their own inner demons. What starts out with all the flavour of a Boys' Own adventure (complete with cutesy dog) turns out to be a well-rounded minor classic. Long live the Western!
579 Reviews
Duvall steals the show with a charismatic portrayal of a man who exudes kindness
Nazi_Fighter_David27 March 2006
Warning: Spoilers
In "Open Range," we are drawn to two men running from their pasts, an aging lonely cowboy, Boss Spearman (Duvall), and his long time second hand man Charley Waite (Kevin Costner). They drive their herd of cattle from a vast prairie to another with their two young helpers: the giant Mose (Abraham Benrubi), a gentle fellow who mostly works as wagon driver and cook and Button (Diego Luna), a teenaged orphan eager to prove himself to his elders
The plot is launched when the four free-range cowboys encounter the town boss, the merciless Denton Baxter (Michael Gambon), a menacing Irish immigrant who actively hates free-grazers, and wants their herd vanished from the territory one way or another
To make his feelings known, Baxter and his henchmen severely injure the two young cowboys
Boss treats the boy's wounds himself, and then takes him, with Charley, to the town's doctor where Sue Barlow (Annette Bening), the doctor's middle-aged sister, cares for him There, in their confusion and anger, the duo realize that they're now on their way for a high noon gun battle, not only for revenge, but to protect their way of life as well
Costner's character, Charlie Waite is an enigmatic, sensitive type who does not show much emotion He has been taking orders from Boss for a decade, but their coming confrontation with Baxter and his thugs begins to reshape their relationship Charlie has a troubled violent past of which he's not proud, but it's a past which will help him in the bloody fight to come
As the story goes relentlessly toward the clash between Baxter's brutes and the two cattlemen, Sue unexpectedly catches Charley's eye She is a strong capable woman who discovers exactly what Charley is when she first meets him Charley was more than a little worried What if Sue sees his malicious side, it might scare her off
Duvall is exceptional as usual He is strong and flexible He steals the show with a charismatic portrayal of a man who exudes kindness as expressed in his concern for the wounded young boy In one of the movie's few striking moments, Boss buys an expensive Swiss chocolate from the town's general store and then offers the storekeeper a piece of it when he finds that he has never tried it himself because he can't afford it Duvall handles this scene relaxed and with all the graciousness and warmth
The film's cinematography is superb, due in part to the green, forested mountain slopes against the stunning snow-capped peaks, marked with occasional torrential thunderstorms
The plot is launched when the four free-range cowboys encounter the town boss, the merciless Denton Baxter (Michael Gambon), a menacing Irish immigrant who actively hates free-grazers, and wants their herd vanished from the territory one way or another
To make his feelings known, Baxter and his henchmen severely injure the two young cowboys
Boss treats the boy's wounds himself, and then takes him, with Charley, to the town's doctor where Sue Barlow (Annette Bening), the doctor's middle-aged sister, cares for him There, in their confusion and anger, the duo realize that they're now on their way for a high noon gun battle, not only for revenge, but to protect their way of life as well
Costner's character, Charlie Waite is an enigmatic, sensitive type who does not show much emotion He has been taking orders from Boss for a decade, but their coming confrontation with Baxter and his thugs begins to reshape their relationship Charlie has a troubled violent past of which he's not proud, but it's a past which will help him in the bloody fight to come
As the story goes relentlessly toward the clash between Baxter's brutes and the two cattlemen, Sue unexpectedly catches Charley's eye She is a strong capable woman who discovers exactly what Charley is when she first meets him Charley was more than a little worried What if Sue sees his malicious side, it might scare her off
Duvall is exceptional as usual He is strong and flexible He steals the show with a charismatic portrayal of a man who exudes kindness as expressed in his concern for the wounded young boy In one of the movie's few striking moments, Boss buys an expensive Swiss chocolate from the town's general store and then offers the storekeeper a piece of it when he finds that he has never tried it himself because he can't afford it Duvall handles this scene relaxed and with all the graciousness and warmth
The film's cinematography is superb, due in part to the green, forested mountain slopes against the stunning snow-capped peaks, marked with occasional torrential thunderstorms
Excellent western film magnificently performed and directed by Kevin Costner
ma-cortes16 July 2004
¨Open Range¨ is a classic western. It's spectacular and riveting. The movie centers about facing off between settlers and cattlemen.
In the cowboys group we find an ex gunslinger(Kevin Costner), an old man (Robert Duvall) and a younger (Diego Luna). They'll have to fight against a landowner (Michael Gambon), a corrupt sheriff( James Russo), an assassin (Kim Coates), among others . Meanwhile the ex-gunfighter will fall in love with a spinster (Annette Bening).
The final showdown between the contenders is breathtaking, gunfight is likeness to "O.K. Corral duel¨.
The film is awesome , sets are extraordinaries and landscapes are wonderful.
The movie blends action, violence, a love story ,drama ,shootouts and is a fascinating film.
Direction by Kevin Costner is of first rate as ¨dancing with wolves¨. Cinematography by Michael Muro is glimmer and Michael Kamen's musical score is atmospheric. Runtime film is overlong however is neither tiring , nor boring but entertaining.
Rating: 7'5 /10 above average. Well worth watching.
In the cowboys group we find an ex gunslinger(Kevin Costner), an old man (Robert Duvall) and a younger (Diego Luna). They'll have to fight against a landowner (Michael Gambon), a corrupt sheriff( James Russo), an assassin (Kim Coates), among others . Meanwhile the ex-gunfighter will fall in love with a spinster (Annette Bening).
The final showdown between the contenders is breathtaking, gunfight is likeness to "O.K. Corral duel¨.
The film is awesome , sets are extraordinaries and landscapes are wonderful.
The movie blends action, violence, a love story ,drama ,shootouts and is a fascinating film.
Direction by Kevin Costner is of first rate as ¨dancing with wolves¨. Cinematography by Michael Muro is glimmer and Michael Kamen's musical score is atmospheric. Runtime film is overlong however is neither tiring , nor boring but entertaining.
Rating: 7'5 /10 above average. Well worth watching.
4 Reasons Why I Love This Film
ccthemovieman-124 January 2006
They don't westerns that much anymore, at least on the big screen. People in the Baby Boomer generation grew up with them on television. Western films were big at the box office in several decades, too.
Well, at least Kevin Costner must have a heart for the genre as he been involved with several major western productions in the last 15 years, this the latest.
The best thing I can say about this film right out front is that it may be the best western I've ever watched. I can't give it higher praise than that! Since I've seen so many, for so long, it's especially high praise.
I make this bold statement because of the following:
1 - Fantastic scenery and beautiful cinematography. If it looks spectacular on my 24-inch flat-screen, I can't imagine how awesome it would be a big plasma set.
2 - Characters you really care about, led by three actors who almost always give solid performances: Robert Duvall (the best in here), Costner and Annette Bening. Duvall, by the way, gives one of the best short "speeches" I've ever witnessed in a movie. It was nice to see Bening actually play a wholesome woman for a change. The two men who are out on the range with Duvall and Costner also were excellent.
3 - Just the right amount of action. When the action does occur, such as gunfire, the sound is incredible. This might be one of the best movies, audibly-speaking, I've ever heard, which is another reason for ranking it Number One. There are no lulls but not a ton of action, either.
4 - Just the right amount of romance. It doesn't get sappy, it doesn't overshadow the basic story, but it adds a nice, soft touch to what could be a very rough and unpleasant tale. And, in a different twist, it's the romance, not the usual climactic gun battle, that ends this film.
I can't say enough about this movie except that I'm sorry more westerns like it aren't made today.
Well, at least Kevin Costner must have a heart for the genre as he been involved with several major western productions in the last 15 years, this the latest.
The best thing I can say about this film right out front is that it may be the best western I've ever watched. I can't give it higher praise than that! Since I've seen so many, for so long, it's especially high praise.
I make this bold statement because of the following:
1 - Fantastic scenery and beautiful cinematography. If it looks spectacular on my 24-inch flat-screen, I can't imagine how awesome it would be a big plasma set.
2 - Characters you really care about, led by three actors who almost always give solid performances: Robert Duvall (the best in here), Costner and Annette Bening. Duvall, by the way, gives one of the best short "speeches" I've ever witnessed in a movie. It was nice to see Bening actually play a wholesome woman for a change. The two men who are out on the range with Duvall and Costner also were excellent.
3 - Just the right amount of action. When the action does occur, such as gunfire, the sound is incredible. This might be one of the best movies, audibly-speaking, I've ever heard, which is another reason for ranking it Number One. There are no lulls but not a ton of action, either.
4 - Just the right amount of romance. It doesn't get sappy, it doesn't overshadow the basic story, but it adds a nice, soft touch to what could be a very rough and unpleasant tale. And, in a different twist, it's the romance, not the usual climactic gun battle, that ends this film.
I can't say enough about this movie except that I'm sorry more westerns like it aren't made today.
Costner as Director
dcyoung3542 October 2005
When this film reaches the climactic shootout, it is a real cinematic treat. Costner has a great feel for creating and choreographing complex action scenes. There is one wide shot in particular that contains many actors involved in a number of separate interactions carried out in a masterfully-planned sequence. It is worth watching several times and paying close attention to each individual shootout going on within the larger scene. Costner has mastered the art of filling the screen with complex action.
The cast is outstanding and the love story is compelling and not typical Hollywood. As a real Western fan, I enjoyed this one enough to watch it several times. I think the plot offers something for everyone and I think it is one of those rare films that appeals to both men and women. It is certainly worth checking out.
The cast is outstanding and the love story is compelling and not typical Hollywood. As a real Western fan, I enjoyed this one enough to watch it several times. I think the plot offers something for everyone and I think it is one of those rare films that appeals to both men and women. It is certainly worth checking out.
A modern classic Western.
psychprofessor2 September 2003
Personally, I didn't find it long. I've seen many great Westerns--such films as "Will Penny," "Shane," "The Unforgiven," and several other Eastwood movies spring to mind--and this was right up there with them. My thanks to Kevin Costner, Robert Duvall (of course), and Annette Bening for giving me a wonderful experience at the movies. It doesn't happen all that often anymore. To those who say, "They don't make 'em like they used to," my response is "This one's better."
Old fashioned western with heart
rosscinema16 September 2003
Why studios don't make more westerns is beyond me. Some of them are downright unwatchable like "Young Guns" and its sequel but there have been some extremely well made films like "Unforgiven" and "Tombstone" so I'm at a loss as to why more are not made. Thank you Kevin Costner! This story is about four men who are herding their cattle through a certain area and they stop near a town to get supplies. The crew is headed by Boss Spearman (Robert Duvall) and his second in charge is Charley Waite (Costner). They send Mose (Abraham Benrubi) to get supplies and after a day or so he doesn't return. Boss and Charley go to find him leaving Button (Diego Luna) to watch the herd. In town they find Mose beaten badly and locked up in the local jail. A rich rancher named Denton Baxter (Michael Gambon) hates "Freegrazers" and tells them to take their man and keep moving. Baxter controls the sheriff (James Russo) and also has many thugs on his payroll. Back at the herd some of Baxters men have been following them so Boss has an idea of going after them instead of running. That night they confront them and smash their rifles but when they get back Mose has been killed and Button is wounded badly. They take him to the local doctor and meet his sister Sue (Annette Bening) and Charley takes a shine. Boss and Charley don't like to be told where to graze their cattle and they want revenge for the death of Mose. A final gunfight in town is inevitable and Charley reveals that he killed many men in the war. This film was directed by Costner and its very well made. He seems to have found his mark as a directer with this genre. Costner allows the story to unfold on its own terms and the pacing is deliberate which is welcomed after watching so many Hollywood films and their quick edits. The film should be seen on the big screen to be appreciated. The scenery is beautiful and their are so many shots with skylines and mountains and wide open prairies and these shots help tell the story in the film. The scenery is important and gives the film a look that helps you relate to the characters when they speak of not wanting to be told where they can go. The characters are well written and they let out things about themselves little by little as the story is told. Duvall's character is a man of high pride and also a stubborn side and he's not afraid to stand up for himself even if it means he might die. Costner plays a man with a hard past and he seems to be living his life and coming to grips with his experiences in the war at the same time. Charley states that he doesn't have a problem with killing and we believe him. The romance between Costner and Bening seems forced and Bening looks a little to old to be a woman that never married. The film goes on about 15 minutes to long and Costner has not one, but two goodbye scenes with Bening. This is a minor complaint because this is a very entertaining film and after a summer of watching hyper-kinetic Hollywood junk, It's a movie that is very welcomed. Hear that Hollywood?
A Contemporary Classic Western
claudio_carvalho14 February 2005
Warning: Spoilers
The cowboys Boss Spearman (Robert Duvall), Charley Waite (Kevin Costner), Mose (Abraham Benrubi) and Button (Diego Luna) are conducting their cattle herd through the fields of the West. Boss and Spearman have been friends for ten years, and they have an special affection and friendship for Button, Mose and his dog Dig. Boss requests Mose to return to a small town nearby and buy some supplies for the rest of their journey. Mose never comes back, and Boss and Charley decides to check what happened with him. They find Moses beaten and arrested in the jail by the corrupt Sheriff Poole (James Russo), accused of fighting against the men of a powerful local rancher, Denton Baxter (Michael Gambon). Boss and Charley bring Mose to the local doctor, Barlow (Dean McDermott), where Charley falls in love for his sister, Sue Barlow (Annette Bening). They return to their camping, they are attacked by Baxter's men and Mose and Dig are killed and Button is seriously wounded. The two old cowboys return to the town looking for justice. "Open Range" is one of the best contemporary western, with the characters very well constructed and an engaging low paced story having action, drama and romance. The performance of the cast, highlighting Robert Duvall and Kevin Costner, and the direction of Kevin Costner are magnificent. I believe in the future "Open Range" will be considered a classic in the genre. My vote is nine.
Title (Brazil): "Pacto de Justiça" ("Pact of Justice")
Title (Brazil): "Pacto de Justiça" ("Pact of Justice")
Solid western storytelling with a great action climax
Leofwine_draca22 September 2016
Warning: Spoilers
Some people say the western is dead, but I disagree; once in a while a good one comes along and shakes up people's opinions and generally impresses everybody. The last time was UNFORGIVEN, now it's Costner's OPEN RANGE, which is not up to the level of Eastwood's movie but is still generally pretty good. The biggest problem is the pacing, which is quite slow, but then for somebody who sat through THE POSTMAN, it seemed to go by pretty quick. Not much to say about this really, other than the scenery, the camera-work, and the music are all excellent, and the subdued acting from the cast is fine – with the exception of villain Michael Gambon, who is anything but subdued when he chews the scenery. I still ended up feeling sorry for him though. Costner is definitely on the back-burner here, giving all the major dramatics to buddy Robert Duvall, who is doing very well for a guy who must be about 110 by now. Then again he always looked old.
I usually hate Annette Bening but she was excellent here as the love interest, whilst Abraham Benrubi has a small but pivotal role as a fellow cow poke and makes it really sympathetic. The script is intelligent and, although adding nothing new to the genre – at the heart this is a simple revenge story – keeps you interested throughout. Things (eventually) pick up for the hair-raising shoot-out at the end, which makes very good use indeed of loud gunshots and surprising stunts, so is definitely worth waiting for. All in all a good, solid addition to the genre.
I usually hate Annette Bening but she was excellent here as the love interest, whilst Abraham Benrubi has a small but pivotal role as a fellow cow poke and makes it really sympathetic. The script is intelligent and, although adding nothing new to the genre – at the heart this is a simple revenge story – keeps you interested throughout. Things (eventually) pick up for the hair-raising shoot-out at the end, which makes very good use indeed of loud gunshots and surprising stunts, so is definitely worth waiting for. All in all a good, solid addition to the genre.
Some people get better at acting with age
klindon-3840020 April 2023
Costner admitted early in his career he was not an "artist", but rather a commodity, or star. I don't disagree. He was a handsome face but he always had an authenticity in his performances too. Very natural on camera. In Open Range, he's at his best. He's the type of guy who is just comfortable in front of the camera and you look at him and feel he's being honest. An honest performance that makes you feel he's not acting in any way. He reminds me of Gary Cooper in that way. A guy who isn't bullsh**ting and you believe every word he says. I love him in this movie. I love the way he speaks to the woman he can't express his love to. I love her in this too.
One Of Costner's Best Films
Theo Robertson26 September 2005
It's probably well known that Kevin Costner once had Republican party sympathies , something that wasn't to fashionable in the Hollywood of the late 80s/early 90s . What might not be so well known is that he switched his allegiance to the environmentalists / greens at the turn of the millennium . This perhaps isn't so surprising because if you watch a film either directed by or starring Costner there always seems to be a running theme of the characters existing in a wilderness away from civilisation such as DANCES WITH WOLVES , PRINCE OF THIEVES and WATERWORLD alongside the philosophy that guns don't kill people , people kill people , or to be more accurate bad people kill people then good people kill bad people as seen in THE UNTOUCHABLES and THE POSTMAN with PRINCE OF THIEVES and WATERWORLD also coming into this category also
OPEN RANGE continues this Costner philosophy as we're shown men or horseback against a breath taking panorama of the untouched American wilderness . You can't help thinking that Costner would like nothing better to see the end of industrialisation and when landscapes are this remote and beautiful who can blame him . The story itself may be rather old fashioned almost in the vein of John Wayne but that doesn't stop it from being the best film with Kevin Costner for a very long time . The cinematography helps of course but the director's best idea was to employ Robert Duvall as co-lead Boss Spearman . Duvall of course is the type of very rare actor who can make a shopping list come alive and Michael Gambon is memorable as bad guy Denton Baxter
Some people might be put off by the fact that it stars and was directed by Costner and therefore expected a three and a half hour epic about nothing in particular . I also had these reservations but was glad I saw this . Duvall's performance and the bloody shoot out at the end had a lot to do with my positive opinion
OPEN RANGE continues this Costner philosophy as we're shown men or horseback against a breath taking panorama of the untouched American wilderness . You can't help thinking that Costner would like nothing better to see the end of industrialisation and when landscapes are this remote and beautiful who can blame him . The story itself may be rather old fashioned almost in the vein of John Wayne but that doesn't stop it from being the best film with Kevin Costner for a very long time . The cinematography helps of course but the director's best idea was to employ Robert Duvall as co-lead Boss Spearman . Duvall of course is the type of very rare actor who can make a shopping list come alive and Michael Gambon is memorable as bad guy Denton Baxter
Some people might be put off by the fact that it stars and was directed by Costner and therefore expected a three and a half hour epic about nothing in particular . I also had these reservations but was glad I saw this . Duvall's performance and the bloody shoot out at the end had a lot to do with my positive opinion
One of the best
dave_martin200822 December 2016
I never get tired of this movie and I don't even want to count the times that I have seen it. Beautifully written, great acting, costumes, scenery. I cannot think of anything I didn't like about it. Annette Bening is definitely one of my favorite actors right along up there with Robert Duvall. Costner was great in this too. I was drawn into this from the opening and maintained the same level of interest until the end credits. I think this is one of the must see westerns and rate it up there along with such classics as The Searchers, Shane and High Noon. I am a huge western fan and when I come across a great one, I can be entertained by watching again as though it were the first time because with great writing, there is always a small part you might pick up the next time you see it that you missed the first time.
Duvall great
SnoopyStyle27 May 2015
Boss Spearman (Robert Duvall) leads Charley Waite (Kevin Costner), Mose Harrison (Abraham Benrubi) and Button (Diego Luna) to drive their cattle across free grazing open range. They go into the town of Harmonville and are confronted by corrupt sheriff Poole and land baron Denton Baxter (Michael Gambon) who hates free grazers. Mose was severely beaten and arrested. Boss and Charley bring him to Dr. Barlow (Dean McDermott). Boss finds a kind soul in the doctor's wife Sue Barlow (Annette Bening).
This is an old-fashion western with a great open landscape and a compelling performance from Duvall. The plot meanders a bit going from romantic melodrama to brutal violence. The violence is brutal and realistic. I think shortening the over two hour running time would help increase the intensity.
This is an old-fashion western with a great open landscape and a compelling performance from Duvall. The plot meanders a bit going from romantic melodrama to brutal violence. The violence is brutal and realistic. I think shortening the over two hour running time would help increase the intensity.
Are you kidding? This was not a great movie!
ceyanna24 September 2005
Warning: Spoilers
Aside from the gunfight scene, I felt the movie was a waste of celluloid. Robert Duvall, Kevin Costner, and Annette Bening could have played those roles in their sleep. The dialog was marginally tolerable (and there was plenty of it--no one sat together quietly in this movie), the plot was all over the map as if they could not decide how many themes to cram into the story, there was no subtlety at all--foreshadowing hit you between the eyes and they led you by the nose through most of the story (I think they added all the dialog to make sure you didn't miss anything), and the editing really needed tightening up (each actor's screen time was more quantity than quality--again, too much dialog).
The entire story took place over the course of a few days, but everything that happened took on epic proportions, much like how day-to-day happenings seemed HUGE to you in high school, but in the grand scheme really weren't THAT important. Yes, the bad guys beat up and killed Mose, they beat up Button, they killed the dog--all things which would get Boss and Charley's blood up. But the importance was diluted by all of the "deep, meaningful" conversations which dominated most of the movie. These guys worked together for 10 years and they're just now talking about this stuff? The only time there wasn't much dialog was in the gunfight scene--which is probably why I liked it.
Finally, someone give Annette Bening a hairbrush! The wispy strands of hair around her face that were (I suppose) to make her look a bit more romantic actually made her look a little deranged. If she worked outside the home, it would have made more sense. Plus, why WASN'T she married already? There seemed to be several "kind and gentle" (her words) single men in town aside from the marshal and his cronies. In fact, none of the bad guys seemed to want her either (a usual plot device in other movies). She stayed cooped up in the house most of the time and really didn't seem to have much connection to the people in town. Makes you wonder......
In all, the movie was entirely too long, too chatty, and too contrived for me. It felt like a star vehicle with lots of screen time for the big stars, but not enough character depth to interest me, despite all of the dialog.
The entire story took place over the course of a few days, but everything that happened took on epic proportions, much like how day-to-day happenings seemed HUGE to you in high school, but in the grand scheme really weren't THAT important. Yes, the bad guys beat up and killed Mose, they beat up Button, they killed the dog--all things which would get Boss and Charley's blood up. But the importance was diluted by all of the "deep, meaningful" conversations which dominated most of the movie. These guys worked together for 10 years and they're just now talking about this stuff? The only time there wasn't much dialog was in the gunfight scene--which is probably why I liked it.
Finally, someone give Annette Bening a hairbrush! The wispy strands of hair around her face that were (I suppose) to make her look a bit more romantic actually made her look a little deranged. If she worked outside the home, it would have made more sense. Plus, why WASN'T she married already? There seemed to be several "kind and gentle" (her words) single men in town aside from the marshal and his cronies. In fact, none of the bad guys seemed to want her either (a usual plot device in other movies). She stayed cooped up in the house most of the time and really didn't seem to have much connection to the people in town. Makes you wonder......
In all, the movie was entirely too long, too chatty, and too contrived for me. It felt like a star vehicle with lots of screen time for the big stars, but not enough character depth to interest me, despite all of the dialog.
Costner's lush love letter to the genre he adores
tieman6429 October 2010
Warning: Spoilers
"My friend and me got a hankerin' for Switzerland chocolate and a good smoke." – Boss Spearman
While early Westerns were helmed by auteurs and iconoclastic directors, the decades that followed saw the genre sporadically kept alive by actors turned directors. Think Clint Eastwood's "Unforgiven", Kurt Russell's "Tombstone" (though George P. Cosmatos receives on-screen credit, Russell ghost directed the film), Ed Harris' "Appaloosa" and Costner's "Open Range" and "Dances With Wolves". Then there are lesser westerns like "Far and Away", "The Virginian", "The Missing", "All the Pretty Horses" and "The Three Burials of Melquiades Estrada", again all directed by actors.
But actors make good directors of Westerns. They understand the iconography of the body, how to work silence, chew scenery and talk with poses. In addition to this, the genre's stock characters are easy to work with, its moral landscape doesn't require much intellect, the uncluttered backdrop of the West makes issues of aesthetics and logistics comparatively easy to handle and the genre's grandstanding lends itself well to the actor's ego. It's probably no coincidence that the best westerns of the past 2 decades were helmed by actors.
"Open Range" stars Robert Duvall (essentially playing the same character here as he played in "Lonesome Dove") and Kevin Costner as a couple of free grazers at war with a local land baron. Costner's character is called Charley White and Duvall's is named Bluebonnet "Boss" Spearman, two wonderfully voluptuous names which hark back to those pulpy dime-store novels of yesteryear.
The film's plot has been done countless times before, and its characters are nothing but walking stereotypes (like Clint Eastwood's "Unforgiven", Costner is a ex gunslinger consumed by guilt), but the film oozes atmosphere, director Kevin Costner treating us to one splendid shot after the next, brooding cowboys framed by expansive skies, rolling mountains, glorious sunsets and whispering fields of grass.
Stylistically the film is going for the wholesome vistas of John Ford's "The Searchers" and "Drums Along The Mohawk", but with its nods to "The Oxbow Incident", "Man of the West" and its frenetic gunfights, Costner's film is as much a love letter to William A. Wellman, Anthony Mann, Hawks and Peckinpah.
What's refreshing, though, is that there's no revisionism here. No attempts to skewer the film to modern trends. Instead, Costner goes for old fashioned melodrama, his antiquated values (Costner thinks he's a cowboy in real life) and notions as to what makes a good man, a good woman and a well lived life, lending themselves perfectly to the film's anachronistic mentality. In its wide-eyed earnestness and apple-pie sincerity, the film's very much suckling on the teat of John Ford.
Like his directorial debut ("Dances With Wolves"), Costner attempts to push his audience's buttons by having a cute dog killed and a likable fat man beaten up by pantomime villains. It's all so gloriously old fashioned that we can't help but smile. This isn't just the old west, it's the old west as told by an actor who was completely enamoured by this kind of uncomplicated storytelling as a kid, and gosh darn it, wants nothing more than to share his aww shucks storytelling with the world.
It's not just all sappy melodrama and actorly scenery chewing, though. All of Costner's films engage in some experimentation, from the Malick-lite visuals of "Dances With Wolves" to the logistical nightmares of "Waterworld", and this one is no different. The emotions of our cast are conveyed expressively by the skies and weather around them, the film sports a well modulated sense of dread, and the way the film's final gun fight rockets back and forth, you'd think Costner was a seasoned director.
8.5/10 – An excellent genre piece, elevated by some good dialogue and palatable ambiance. The film doesn't attempt much, is dishonest in assigning victory to our free-grazers (historically, the land barons won) and is a bit too in love with the hallmarks of its genre to say anything of its own, but what it does it does well. See Martin Ritt's "Hombre" and "Hud".
Worth two viewings.
While early Westerns were helmed by auteurs and iconoclastic directors, the decades that followed saw the genre sporadically kept alive by actors turned directors. Think Clint Eastwood's "Unforgiven", Kurt Russell's "Tombstone" (though George P. Cosmatos receives on-screen credit, Russell ghost directed the film), Ed Harris' "Appaloosa" and Costner's "Open Range" and "Dances With Wolves". Then there are lesser westerns like "Far and Away", "The Virginian", "The Missing", "All the Pretty Horses" and "The Three Burials of Melquiades Estrada", again all directed by actors.
But actors make good directors of Westerns. They understand the iconography of the body, how to work silence, chew scenery and talk with poses. In addition to this, the genre's stock characters are easy to work with, its moral landscape doesn't require much intellect, the uncluttered backdrop of the West makes issues of aesthetics and logistics comparatively easy to handle and the genre's grandstanding lends itself well to the actor's ego. It's probably no coincidence that the best westerns of the past 2 decades were helmed by actors.
"Open Range" stars Robert Duvall (essentially playing the same character here as he played in "Lonesome Dove") and Kevin Costner as a couple of free grazers at war with a local land baron. Costner's character is called Charley White and Duvall's is named Bluebonnet "Boss" Spearman, two wonderfully voluptuous names which hark back to those pulpy dime-store novels of yesteryear.
The film's plot has been done countless times before, and its characters are nothing but walking stereotypes (like Clint Eastwood's "Unforgiven", Costner is a ex gunslinger consumed by guilt), but the film oozes atmosphere, director Kevin Costner treating us to one splendid shot after the next, brooding cowboys framed by expansive skies, rolling mountains, glorious sunsets and whispering fields of grass.
Stylistically the film is going for the wholesome vistas of John Ford's "The Searchers" and "Drums Along The Mohawk", but with its nods to "The Oxbow Incident", "Man of the West" and its frenetic gunfights, Costner's film is as much a love letter to William A. Wellman, Anthony Mann, Hawks and Peckinpah.
What's refreshing, though, is that there's no revisionism here. No attempts to skewer the film to modern trends. Instead, Costner goes for old fashioned melodrama, his antiquated values (Costner thinks he's a cowboy in real life) and notions as to what makes a good man, a good woman and a well lived life, lending themselves perfectly to the film's anachronistic mentality. In its wide-eyed earnestness and apple-pie sincerity, the film's very much suckling on the teat of John Ford.
Like his directorial debut ("Dances With Wolves"), Costner attempts to push his audience's buttons by having a cute dog killed and a likable fat man beaten up by pantomime villains. It's all so gloriously old fashioned that we can't help but smile. This isn't just the old west, it's the old west as told by an actor who was completely enamoured by this kind of uncomplicated storytelling as a kid, and gosh darn it, wants nothing more than to share his aww shucks storytelling with the world.
It's not just all sappy melodrama and actorly scenery chewing, though. All of Costner's films engage in some experimentation, from the Malick-lite visuals of "Dances With Wolves" to the logistical nightmares of "Waterworld", and this one is no different. The emotions of our cast are conveyed expressively by the skies and weather around them, the film sports a well modulated sense of dread, and the way the film's final gun fight rockets back and forth, you'd think Costner was a seasoned director.
8.5/10 – An excellent genre piece, elevated by some good dialogue and palatable ambiance. The film doesn't attempt much, is dishonest in assigning victory to our free-grazers (historically, the land barons won) and is a bit too in love with the hallmarks of its genre to say anything of its own, but what it does it does well. See Martin Ritt's "Hombre" and "Hud".
Worth two viewings.
Great Cast and Great Story
johnmburchfield339 July 2016
There are those who will disagree, that is fine. I believe everyone should be allowed to voice their opinion. So this is mine. "Open Range" is in my opinion one of the best movies I have seen on the silver screen since John Ford's westerns. It is definitely Kevin Costner's best performance and Robert Duvall, well, he is great in anything he plays in. Ever since his portrayal of "Boo Radley" in "To Kill a Mockingbird" I have been a fan. This movie is an absolute delight and the very best of western cinema. The character of Baxter (Michael Gambon)is spot on. He does so well at his craft that you cannot help but to hate him and enjoy what he is about to get. I watch the movie every time it is on. Great cast and great story.
I like this movie
alanmcaras18 February 2014
I've seen this movie at least ten times. I watch it whenever I stumble across it scheduled on a cable channel. I think it is the best movie Kevin Costner has ever made. I would not call myself a big Kevin Costner fan. I think he too often over reaches. This movie however he nailed. Duval is positively superb. I do not recall Duval ever bad, well except maybe his brief turn in To Kill a Mockingbird. I am not enough of a movie buff to be able attribute his performance in this film to Costner's direction or Duval's feel for the character. I cannot recall Costner ever playing a role as subtlety as he does in this. I think he understood this character and was willing to share the screen with his costars. I give MS Benning huge props for playing this film without apparent makeup. All credit to Costner for the mood of this movie never wavering. The cinematography was excellent.
New Appreciation for a Slow Pace
Johnny-1254 June 2013
Last night as I started to watch this I almost stopped during the opening scenes. The pace is slow, real slow. I tend not to tolerate slow moving stories very well. Yet as soon as I met Boss Spearman and Charley Waite I was hooked. Robert Duvall and Kevin Costner did a fantastic job of convincing me they were driving those cows through the open range. In fact by the time the two hours and nineteen minutes rolled by, I didn't feel it. I'm not saying that slower paced westerns are all I will watch now, but this one was worthy the viewing. May even find itself reviewed a few years down the road.
Great entertainment, and a movie to help one appreciate the slower pace.
Great entertainment, and a movie to help one appreciate the slower pace.
A simple, familiar plot...done with excellence.
planktonrules5 February 2022
"Open Range" is a very slow movie. I mention this upfront in case you are the type who won't watch a slow and deliberately paced film. But, and this is important, the film is pretty amazing.
The plot is one that is rather familiar to old B-westerns. There's a local rancher who controls everyone and when a cattle drive comes by HIS town, he sets out to destroy the cowboys and steal their livestock. The surviving members of the party (Robert Duvall and Kevin Costner) are naturally angry...and the local sheriff is bought and paid for by the evil boss. So what are these two proud, wronged men to do?
This movie works very well for a variety of reasons. The biggest one is that the acting is just superb...top notch. On top of this, the cinematography, music and setting all work to make a terrific movie...one that works very well if you give it a chance.
The plot is one that is rather familiar to old B-westerns. There's a local rancher who controls everyone and when a cattle drive comes by HIS town, he sets out to destroy the cowboys and steal their livestock. The surviving members of the party (Robert Duvall and Kevin Costner) are naturally angry...and the local sheriff is bought and paid for by the evil boss. So what are these two proud, wronged men to do?
This movie works very well for a variety of reasons. The biggest one is that the acting is just superb...top notch. On top of this, the cinematography, music and setting all work to make a terrific movie...one that works very well if you give it a chance.
A tight and rewarding modern Western
Keith_beard6625 October 2015
It is sometimes easy to forget that Kevin Costner once had a reputation as an understated and smart Hollywood leading man, due to overbearing epics such as Waterworld and Robin Hood: Prince of Theieves. This tight, and character driven Western is a return to form, and once again shows his keen eye as a director, and his engagement with fellow actors.
I was impressed with the chemistry between Costner as Charley Waite along side Robert Duvall's seasoned 'Boss'. There was some fun knock about humour and sparks between the two, but also a gentle intimacy, and Costner deserves credit for his understated turn in allowing Duvall space to dominate the screen. Duvall has an air of subtle menace and charm as always, its a carefully built and commanding turn. It was also interesting how Boss become the more likable character of the two, having started out as a bit of a grumpy bore.
There is a nice earthy look to the visuals, and the pacing is cool and breezy, with a care to detail, but not overalLy fussy. It is also a rare aspect of the Western that there is only one major action sequence and as a result it feels like a more dramatic and crucial scene. Another surprising thing is that the romance between Annette Bening's Sue and Charley is not rushed or underwritten as it maybe in other films of this genre. It is a credible part of the narrative which is given time to build, and another plus is that Sue is invested with much greater agency than is the norm for female characters of the genre.
Its not all plain sailing, some of the dialogue felt jarring, Diego Luna's supporting character was a tad underwriter and felt like a plot device, and Michael Gambon's Irish accent was cartoonish.
However, for the most part, this was an enjoyable mix comedy, drama, and romance, neatly shot, and grounded.
I was impressed with the chemistry between Costner as Charley Waite along side Robert Duvall's seasoned 'Boss'. There was some fun knock about humour and sparks between the two, but also a gentle intimacy, and Costner deserves credit for his understated turn in allowing Duvall space to dominate the screen. Duvall has an air of subtle menace and charm as always, its a carefully built and commanding turn. It was also interesting how Boss become the more likable character of the two, having started out as a bit of a grumpy bore.
There is a nice earthy look to the visuals, and the pacing is cool and breezy, with a care to detail, but not overalLy fussy. It is also a rare aspect of the Western that there is only one major action sequence and as a result it feels like a more dramatic and crucial scene. Another surprising thing is that the romance between Annette Bening's Sue and Charley is not rushed or underwritten as it maybe in other films of this genre. It is a credible part of the narrative which is given time to build, and another plus is that Sue is invested with much greater agency than is the norm for female characters of the genre.
Its not all plain sailing, some of the dialogue felt jarring, Diego Luna's supporting character was a tad underwriter and felt like a plot device, and Michael Gambon's Irish accent was cartoonish.
However, for the most part, this was an enjoyable mix comedy, drama, and romance, neatly shot, and grounded.
Most realistic film gunfight I've ever seen.
polarbeardad7 September 2003
Once again, Robert Duval deserves Oscar consideration for this one. The dialogue was crisp so kudos to the writing team. The attention to detail must also be applauded. During the first walk through of the town, the realism was mind blowing. The detail of the main characters trying to cross the street as the water rushed by was incredible well done. Who couldn't relate to that?
This one is a must see. A true period film
This one is a must see. A true period film
One of the better westerns in quite some time
gregsrants29 May 2004
Westerns have run their course in Hollywood. Gone are the glory days of Sergio Leone's The Man Without a Name films or Sam Peckinpah's The Wild Bunch. In the new age of film, it now seems we run years before we get mediocre films like Young Guns they seem to do enough harm to put the genre in a back room for another lengthy stay. It's not that any western produced within the past 20 years has been incredibly bad, it's just that the new generation of moviegoers don't seem to care. Kids on the street now play spaceman and aliens rather than the cowboys and Indians that we used to partake.
Then in 1985, Clint Eastwood tried again with Pale Rider, which was a moderate hit grossing in about $41 million dollars domestically. But still Hollywood did not jump on the chuck wagon to exploit the genre. Over the next few years, there were a handful of good western films (Dances with Wolves, Silverado) and a whole lot of bad ones (Trigger Fast, Bad Girls).
It took Clint Eastwood to come to the rescue again in 1992 with the critically applauded Unforgiven. The story about a retired gunslinger went on to win the Academy Award for Best Picture and many people, including myself, thought that the flood gates for the western/frontier film was wide open.
But a funny thing happened on the way to the local saloon years passed and no one studio seemed to greenlight any further westerns. Were there no good stores? Were they too expensive to make? Or was it simply that Schwarzenegger would just look stupid in chaps. Who knows?
One thing I do know for sure is that Kevin Costner's Open Range is one of the better westerns to be produced in many a Dakota moon. Starring Costner, Robert Duvall and Annette Bening, Open Range tells the story of two free grazers who take the law into their own hands after members of their posse are shot and left for dead. Sue Barlow (Bening) is the sister of the local doctor that cares for the harmed ranchers and soon finds herself the affection of Charlie Waites' eye (Costner). Together, they stand up to the sheriff and his local henchmen in hopes of seeking revenge for their fallen comrade and ensuring their right to free graze in the open country.
What made Open Range so unique is its honest depiction of the wild wild west. When a gun battle is about to erupt in town, the townspeople flee to the treeline rather than sit in their homes and become victims of stray bullets. And when the gun fighting begins, people actually don't get hit with every bullet leaving a gun. Even just ten to fifteen feet from each other, bullets fly by from the hands of nervous gunmen which is a far cry from the every bullet has an owner movies to which Eastwood has made famous.
Even the characters are more realistic than portrayed in most westerns. Our heroes are conflicted individuals whose actions are sometimes less than acceptable recourse. When Charlie shoots the bar mirror after being denied service, it reinforces the notion that in a lawless time, everyone just looked out after themselves and went to great lengths to see their own form of justice handed out.
Maybe most refreshing however was in the simple casting of the film. Costner and Bening as love interests are far more an acceptable possibility than having an almost 50-year old chasing down a twenty-something like we see in almost every other movie out there. And Bening, to her credit, also uses very little make-up to hide the fact that she too is in her forties. This lead to a more plausible affection, all do respect to Jack Nicholson and his harem of high school costars.
Kevin Costner had to put up a majority of his own money to get this film made, and although not a breakthrough success, the movie did make back its $40 dollar budget with a few extra coins for everyone to put back in their pockets with DVD and video rentals. However, this will do nothing to get the western back in our local theaters on a regular basis. Unless someone can produce a western with Brad Pitt, Orlando Bloom, Keanu Reeves and Leonardo DiCarprio directed by Steven Spielberg, then I am afraid we are in for another long drought before we get to see our heroes ride into the sunset to cue the credits.
Then in 1985, Clint Eastwood tried again with Pale Rider, which was a moderate hit grossing in about $41 million dollars domestically. But still Hollywood did not jump on the chuck wagon to exploit the genre. Over the next few years, there were a handful of good western films (Dances with Wolves, Silverado) and a whole lot of bad ones (Trigger Fast, Bad Girls).
It took Clint Eastwood to come to the rescue again in 1992 with the critically applauded Unforgiven. The story about a retired gunslinger went on to win the Academy Award for Best Picture and many people, including myself, thought that the flood gates for the western/frontier film was wide open.
But a funny thing happened on the way to the local saloon years passed and no one studio seemed to greenlight any further westerns. Were there no good stores? Were they too expensive to make? Or was it simply that Schwarzenegger would just look stupid in chaps. Who knows?
One thing I do know for sure is that Kevin Costner's Open Range is one of the better westerns to be produced in many a Dakota moon. Starring Costner, Robert Duvall and Annette Bening, Open Range tells the story of two free grazers who take the law into their own hands after members of their posse are shot and left for dead. Sue Barlow (Bening) is the sister of the local doctor that cares for the harmed ranchers and soon finds herself the affection of Charlie Waites' eye (Costner). Together, they stand up to the sheriff and his local henchmen in hopes of seeking revenge for their fallen comrade and ensuring their right to free graze in the open country.
What made Open Range so unique is its honest depiction of the wild wild west. When a gun battle is about to erupt in town, the townspeople flee to the treeline rather than sit in their homes and become victims of stray bullets. And when the gun fighting begins, people actually don't get hit with every bullet leaving a gun. Even just ten to fifteen feet from each other, bullets fly by from the hands of nervous gunmen which is a far cry from the every bullet has an owner movies to which Eastwood has made famous.
Even the characters are more realistic than portrayed in most westerns. Our heroes are conflicted individuals whose actions are sometimes less than acceptable recourse. When Charlie shoots the bar mirror after being denied service, it reinforces the notion that in a lawless time, everyone just looked out after themselves and went to great lengths to see their own form of justice handed out.
Maybe most refreshing however was in the simple casting of the film. Costner and Bening as love interests are far more an acceptable possibility than having an almost 50-year old chasing down a twenty-something like we see in almost every other movie out there. And Bening, to her credit, also uses very little make-up to hide the fact that she too is in her forties. This lead to a more plausible affection, all do respect to Jack Nicholson and his harem of high school costars.
Kevin Costner had to put up a majority of his own money to get this film made, and although not a breakthrough success, the movie did make back its $40 dollar budget with a few extra coins for everyone to put back in their pockets with DVD and video rentals. However, this will do nothing to get the western back in our local theaters on a regular basis. Unless someone can produce a western with Brad Pitt, Orlando Bloom, Keanu Reeves and Leonardo DiCarprio directed by Steven Spielberg, then I am afraid we are in for another long drought before we get to see our heroes ride into the sunset to cue the credits.
Open Range
shavid21 January 2005
Open Range is without doubt one of the best family movies I have seen for a long time. Although not quite as good as "Dances With Wolves" Open Range, funnily enough, not only stars Kevin Costner but is along the same theme in as much as it tells a story about the early American way of life. This time about the "Free Range" cattlemen and the different hardships they had to cope with. And for once my family could sit down and watch a movie without all the smut, swearing and extreme violence that unfortunately, all movie makers of late, seem to think is necessary to sell them. The storyline was simple and easy to follow at the same time as it retold a fine piece of early American history.
Although the actors had a simple storyline to work with, I felt their performances made the movie all the more realistic. Kevin Costner in my opinion is a fine actor, but put him in with an under-rated master such as Robert Duvall, and you can't go wrong. Their easy going,straight from the hip portrayal of the main characters was one of the reasons that as soon as I had finished watching the video I rewound it and the whole family watched it again.
Although the actors had a simple storyline to work with, I felt their performances made the movie all the more realistic. Kevin Costner in my opinion is a fine actor, but put him in with an under-rated master such as Robert Duvall, and you can't go wrong. Their easy going,straight from the hip portrayal of the main characters was one of the reasons that as soon as I had finished watching the video I rewound it and the whole family watched it again.
Open Range
jboothmillard28 November 2015
Warning: Spoilers
I first heard about this film when leading star, producer and director Kevin Costner (Dances with Wolves, Wyatt Earp, Waterworld, The Postman) when he appeared with Little Ant & Dec on Saturday Night Takeaway, I had been interested in seeing it for years, I'm glad I finally watched when I did. Basically in the year 1882, in the Old West, open range cattleman Bluebonnet "Boss" Spearman (Robert Duvall) and his hired hands, former Civil War soldier Charley Waite (Kevin Costner), gentle, boy-like cook Mose Harrison (Abraham Benrubi) and 16-year-old Spanish kid Button (Diego Luna) are driving a herd cross country. The cowboys head into the town of Harmonville for supplies, there they are encountered by corrupt Sheriff Poole (James Russo) and kingpin rancher Denton Baxter (Sir Michael Gambon), who through fear, tyranny and violence govern the territory. Boss and Charley find themselves dangerously entangled into an inevitable showdown, after Mose is arrested for starting a fight and is beaten in jail. Mose is released and taken to Doc Barlow (Dean McDermott), there the men also meet the doctor's sister Sue (Annette Bening), Charley is immediately attracted to her, and after, initially assuming she was the doctor's wife, they start a romance. With the help of friendly livery stable owner Percy (Michael Jeter) the open rangers are ready to fight for the freedom and values of a lifestyle that is all too quickly vanishing, before this Poole is locked in his own jail cell, along with his deputies. Gunman Butler (Kim Coates), who shot Buttons and killed Mose, is shot dead, and after an intense firefight erupting in the streets Baxter is mortally wounded and dies, in the end Boss and Charley, with Sue, decide to give up the cattle business and settle in the town. This does not have the same epic scope as masterpiece Dances with Wolves, but Costner does a fine job directing, and acting, Duvall is great being restrained but dignified, and Gambon gets his time being nasty, this is one of those cowboy movies with only a little action and more dialogue, but it does work well as a character relationship story, and it does have beautifully scenery throughout, an interesting and worthwhile western. Good!
I Have Been Violated
Vitamin-O11 March 2004
It makes me sick to even waste the time on this write-up, but it's in my generous nature to protect those innocent & unwitting souls who are thinking of renting this film tonight.
Open Range is a joke. I found it painful and embarrassing that I shared my
living room with Costner and Duvall. For the first hour, you will simply watch two actors rehearsing their lines on location.
(Luckily, the location is breath-taking southern Alberta, and cinematographer James Muro deserves credit for lingering over my province's open skies and
rolling contours with painterly dedication.)
The last half of the movie offers a mildly exciting gunfight, but then spirals into a cardboard romance that makes Anakin & Padme look like Bogie & Bacall.
Craig Storper's screenplay lacks the character and detail that could have
elevated Open Range above the archetype. You will scratch your head over
specifics like the Great Dog Rescue, Annette Bening's disappearing accent, and the cookie-cutter romantic subplot. You will wince at the majority of the
dialogue. You will then plummet into madness as Costner slowwwwwly focuses
his lens on details insignificant to the story. While a tale of this nature could be wrapped up in `High Noon"'s 84 minutes, Costner allows himself a soul- destroying 140 MINUTES. Gentle video renter, try to remember Waterworld and
The Postman. How many times will you allow Costner to insult you?
Mustachio-Twirling Corrupt Lawmen? Check. Big Solemn Pronouncements?
Check. Cornball. Cliched. By-the-numbers. So then why did Open Range
gross $58 million in its 16-week run?
My theory is that critics and the public saw the film as a potential revival of a genre which had lain mostly dormant during the past dozen years. Finally,
Hollywood was opening up the Old West once more as prime movie territory.
People forget, however, what WAS released all those dozen years ago.
Unforgiven is the definitive, quintessential, prototypical, archetypical, last, best western. There is a REASON why Hollywood has released no westerns of note
since 1992. There is simply no need. Nothing more can be done with the genre since Clint, Hackman, Freeman & Harris lit it up in that year's Oscar winner for Best Picture. There are not enough superlatives for Unforgiven; just let it be said that Eastwood's epic is the bookend for the genre.
Open Range just can't compete. Not only is it a bad movie, but following - and sharing the shelf with - a work like Unforgiven, it's inherently flawed for even being CONCEIVED. Open Range is a parody, by a pretender who wants to
cash in on the work of the masters.
Open Range is a joke. I found it painful and embarrassing that I shared my
living room with Costner and Duvall. For the first hour, you will simply watch two actors rehearsing their lines on location.
(Luckily, the location is breath-taking southern Alberta, and cinematographer James Muro deserves credit for lingering over my province's open skies and
rolling contours with painterly dedication.)
The last half of the movie offers a mildly exciting gunfight, but then spirals into a cardboard romance that makes Anakin & Padme look like Bogie & Bacall.
Craig Storper's screenplay lacks the character and detail that could have
elevated Open Range above the archetype. You will scratch your head over
specifics like the Great Dog Rescue, Annette Bening's disappearing accent, and the cookie-cutter romantic subplot. You will wince at the majority of the
dialogue. You will then plummet into madness as Costner slowwwwwly focuses
his lens on details insignificant to the story. While a tale of this nature could be wrapped up in `High Noon"'s 84 minutes, Costner allows himself a soul- destroying 140 MINUTES. Gentle video renter, try to remember Waterworld and
The Postman. How many times will you allow Costner to insult you?
Mustachio-Twirling Corrupt Lawmen? Check. Big Solemn Pronouncements?
Check. Cornball. Cliched. By-the-numbers. So then why did Open Range
gross $58 million in its 16-week run?
My theory is that critics and the public saw the film as a potential revival of a genre which had lain mostly dormant during the past dozen years. Finally,
Hollywood was opening up the Old West once more as prime movie territory.
People forget, however, what WAS released all those dozen years ago.
Unforgiven is the definitive, quintessential, prototypical, archetypical, last, best western. There is a REASON why Hollywood has released no westerns of note
since 1992. There is simply no need. Nothing more can be done with the genre since Clint, Hackman, Freeman & Harris lit it up in that year's Oscar winner for Best Picture. There are not enough superlatives for Unforgiven; just let it be said that Eastwood's epic is the bookend for the genre.
Open Range just can't compete. Not only is it a bad movie, but following - and sharing the shelf with - a work like Unforgiven, it's inherently flawed for even being CONCEIVED. Open Range is a parody, by a pretender who wants to
cash in on the work of the masters.
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