Directed By Jacques Audiard
Starring – John C Reilly, Joaquin Phoenix, Jake Gyllenhaal
The Plot – Based on Patrick DeWitt’s novel, “The Sisters Brothers” revolves around the colorfully named gold prospector Hermann Kermit Warm (Riz Ahmed), who’s being pursued across 1000 miles of 1850s Oregon desert to San Francisco by the notorious assassins Eli (Reilly) and Charlie (Phoenix) Sisters. Except Eli is having a personal crisis and beginning to doubt the longevity of his chosen career. And Hermann might have a better offer.
Rated R for violence including disturbing images, adult language, and some sexual content
– Benoit Debie’s dreamy western canvas that stretches as far as the eye can see. The first step in any good Western is to paint the screen with these entrancing visuals that articulate the distance and immensity of the land that our characters travel, but what Debie uses these instances for is more of a navigation tool in communicating to the audience the settings that they are headed. It starts on the characters it is focused on, then slowly pans out to reveal the bigger mapped out picture that we otherwise would be oblivious to while trailing them on the ground. This aspect perfectly sets the stage for what hits next, and amplifies the artistic value of the film tenfold, for those like myself who require gorgeous scenery in their westerns.
– Unique chapter introductions. This is an homage to classic westerns, in that the beginning of an important exchange for our characters begins with an image to summarize what’s to come. It isn’t so much in the inclusion of this trait as it is the presentation that accompanies it, charming us with what looks like a blurred gun scope outline for the depiction. This alerts the audience to an important scene every time its gimmick pops up, and gave the movie a delightful marriage between classic and present film that values each respective era.
– Buzzworthy performances from four big name actors. Nothing against the ladies, but this is definitely a men’s show, bringing along impeccable chemistry from two different duos (Reilly and Phoenix, Gyllenhaal and Ahmed) that constantly fight for leverage of the camera. For my money, it’s Reilly who may just steal the show, exchanging his usual comedic stick for empathetic drama that looks good on the veteran actor. It’s a bit confusing as to why he’s billed as the main character because the film sticks with Phoenix remotely more, but Reilly’s somber ambition for the character steals our hearts and scenes repeatedly. Gyllenhaal’s English accent also shouldn’t be overlooked.
– False advertising. This trait would usually be in my negatives category, but I’m glad that the manipulative trailers that presented this film as a comedy were a complete fabrication. Is there comedy in the film? Sure, in small appropriate doses, but I’m very much thankful for the dramatic depth of the script that is continuously dark and depressing in a way that only increases your emotional investment into these characters and the opposition they face. Fans looking for the usual bumbling Reilly comedy will be severely disappointed, but I challenge you to continue your interest from the trailer into a world of consequential drama that never relents.
– What I found so compelling about these brothers is that they are anything but your conventional heroes. Instead, they present a very honest and engaging depiction of two men who are ruthlessly cold-blooded killers, whose only solace is in the bond that they share while committing these crimes. In regards to their chemistry beyond the casual brothers label, these are two men who thrive because of the presence of the other. I have no doubt that they would be lost if they went it alone, and the film spends valuable minutes of screen time to further prove my theory. It’s the single most definitive brother depiction that I’ve ever seen in a western.
– Desplat simply doesn’t sleep. Alexandre Desplat is quickly becoming one of my favorite musical composers going today, and his work in “The Sisters Brothers” continues the trend with somber tones and wondrous numbers that do a great service to the presentation. My single favorite aspect of his score is that it never feels intrusive or manipulative despite continuously elevating my investment into every scene. The moments on screen and the music work hand-in-hand together without one of them overstepping the other, and if you’re ever curious how sound elevation should be handled, check this one out.
– Even with the linear style of storytelling between the two sides, the film never felt predictable or stale for where it was headed. In displaying two duos of characters with equal time devoted, the film sets up an inevitable confrontation where only we the audience know when and where it will take place. Despite this, there’s enough twists in the dynamics of both groups, as well as the slow reveal of character backstories that constantly kept me glued to the screen, and rarely ever let me down.
– A limited eye for action sequence capacity. Much of the action in the film is spread out and secluded over the course of a film that is nearly two hours in runtime, and my problem isn’t so much with the amount of action as it is the way it is captured on screen. Much of the angles felt compromisingly close for audience detection, and the rapid fire cuts of brash editing made it increasingly difficult to focus on just one character perspective. It’s a bit shocking that the action is shot so terribly because the rest of the movie’s camera movements are beautiful, but these flaws stick out like a sore thumb .
– Stilted pacing. Complaining about pacing in a western movie is like complaining about snow in Ohio, but there are times during the third act where the film has trouble moving forward after a series of bombshell events that leaves characters leveled. This is the first time where I truly felt the stretching of runtime that was up until then engagingly persistent. There’s nothing that I would erase or leave on the cutting room floor, but quick cut treatment in these closing moments could’ve kept the energy on high for the closing moments that serve as the big payoff.
– There’s a pivotal moment late in the third act that changes the complexion of our characters moving forward, and my problem with this scene is how illogical the characters feel after molding them a particular way prior. It’s almost comical how this mistake of epic proportions takes place, and requires a great suspension of disbelief for how it physically alters them moving forward. I understand that this element is in the book of the same name, but certainly there are better ways to adapt this that feel more consistent with character details present in the film.
My Grade: 7/10 or B