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Where fun begins...
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For those who learned to read good.
Welcome to this year
We've started making our own this year
Yeah, don't expect much here
The year we pretty much crapped out for a while
Like the number of the Illuminati, with 00 in the middle.
A golden year for us.
Not the Kubrick film, just reviews.
In the year 2000....
Older than dirt and twice as interesting!

 

© DSFC 		OPEN RANGE
WHERE THE TATANKA ROAM
by pat


The film is sparse with words, and so too is this review. The film is, as some might note, a bit slow. I can understand the stylistic choice. The time represented was not action packed. People led quiet, simple lives. There wasn't constant banter about pop-culture. People didn't have long, well educated soliloquies at any given chance. The fact that Boss (DuVall) and Charley (Costner), who have known each other for about a decade, don't speak very often until later in the film, when there are things that truly need to be said, is perfectly okay. Ten years of herding cattle through the countryside, generally away from townships, does not exactly produce talky or outgoing people.


This lack of dialogue, as well as the ambling way things start in general, with little happening to excite the audience, builds a world for the movie that we can then watch change. Had we not understood the life of our leads, we'd understand them less, and therefore have a harder time caring for them as everything changes for them. They may be dry, monotone, and awkward, but you really know who they are and care for them. I'm not sure how the Academy will react to the performances and pacing, but I had no problem with any of it.


Since the gunfight has been so touted, I can skip that and move to the other thing that bears as much notice as possible. The cinematography is flat out amazing. It's beautiful, well balanced, makes great use of color, light, themes, everything. The last thing I was this wowed by is "Road to Perdition." I know the year isn't over, but I really don't know if anything coming out will be able to top the camerawork on this movie. What really amazes me is that I don't think they relied on computers. Very few shots looked like they even could be optical tricks, especially for the budget, less yet actually were. The skies and landscapes are just mesmerizing, "Gump" quality. There may have been some digital color correction, ala "O Brother, Where Art Thou," especially the stuff in the town at night, but that would be it, at least to my eye.


The ambient, well separated sound is worth hunting down a decent theater or home system, even more so for that aforementioned gunfight, one of the best I've seen or heard. The music is quality and the score will be mine once my next paycheck arrives. As of right now, this is a very strong contender for my top five of the year. Of course, I would like to take a moment to say "I told you so" to all of those Costner doubters out there.
"You know what? I'm getting kind of sick of Dry Land."
TRAFFIC STOPPED WHEN THE FRONT COW HIT A DEER

"I got's ta help my Michael Jeter!"
"SILVERADO vs. LONESOME DOVE vs. ROBOCOP"

"Git along, little... Hey, that's not a doggie! That's a cow!"
CRAFT SERVICES SERVED FRESH FOOD EVERY DAY

"They got shot at the library, tryin' to look up 'maleficent.'"
THE MALEFICENT SEVEN (MINUS TWO)