Directed by Scott Cooper
Starring – Christian Bale, Rosamund Pike, Wes Studi
THE PLOT – Set in 1892, Hostiles tells the story of a legendary Army Captain (Bale), who after stern resistance, reluctantly agrees to escort a dying Cheyenne war chief (Studi) and his family back to tribal lands. Making the harrowing and perilous journey from Fort Berringer, an isolated Army outpost in New Mexico, to the grasslands of Montana, the former rivals encounter a young widow (Pike), whose family was murdered on the plains. Together, they must join forces to overcome the punishing landscape, hostile Comanche and vicious outliers that they encounter along the way.
Rated R for strong violence and adult language
– What a breathtaking cinematic scope that cinematographer Masanobu Takayanagi helms beautifully. Western genre films are all about these immense landscape depictions that stretch out as far as they eyes can see, and ‘Hostiles’ certainly doesn’t lack this feature in the mesmerizing establishing shots that articulate the Northwest Passage on a big, beautiful screen.
– The Oscars screwed up. How Bale or Pike didn’t get nominated for their dedicated work is beyond me. Pike is my personal favorite, commanding a woman whose transformation after the devastation of loss left me riddled with goosebumps. Bale as well goes through a transformation of his own, but for toeing the line of a life that looks different now that he sees the glass as half full.
– Cooper doesn’t get enough credit for his writing. Here, he exerts himself endlessly as a master storyteller in supplanting us with the important details that paint an ever so vivid picture in understanding the different shade of characters that adorn his film.
– Not for the weak. This film surprised me time and time again with its endless string of brutality and consequential aftermath, but none the more appropriate for setting the tone than the opening ten minute scene that left my jaw hitting the floor with impact.
– Composer Max Richter constructs perhaps an even more dire musical score than even his work on ‘Shutter Island’. What’s more ironic here is not necessarily the pieces themselves, which are all stirring violin-instilled ranges that pay ode to the classic western genre of films intently, but how subtle their influences are. The accompanying music echoes lowly in the background, choosing to never overstep the boundaries of an audience absorbing the ever-changing range of scenery.
– There are many themes throughout the film, but the two important and resonating ones that I found were “When is killing appropriate?” and “How does killing change a person?”. These two directions make up so much of Cooper’s script, and does so in a way that pays homage to the centuries old oppression of Indian tribes, while opening up a poignant approach to modern times with those we deem as different.
– For a 130 minute film, much of the movie blows by and is paced smoothly because of my emotional attachment to the uncertainty of these characters and their dangerous journey ahead.
– The budding romance between Bale and Pike’s characters is certainly evident, yet never used in a way that feels familiar in how Hollywood depicts the emergence of romance between them. To me, I sensed more of a spiritual bond between them, bringing to life a chemistry that unravels as something much more important than bed buddies.
– Far too often, the film caters to a tell-and-not-show approach with many of its death scenes. I counted three instances when we’re told something that wasn’t shown on screen, and these were important details that bridged the gap in understanding what we’re seeing in front of us.
– The first half of the film is definitely the better half. There’s no more evidence of this than the final twenty minutes in which a new antagonist pops up out of nowhere to give in to that desire of a final shootout. Not only do I think this was unnecessary, but it feels like tacked on dramatic effect to make up for disposing of an original enemy so early in the film.