‘Gunslingers’ Review: A Posse Seeks Stephen Dorff’s Neck in High-Body-Count Western

by

1903’s “The Great Train Robbery,” directed by Edwin S. Porter, is commonly recognized as one of the earliest significant narrative films. It utilized an innovative collection of techniques to convey a genuine, nearly epic tale that spanned 12 minutes, instead of merely capturing a brief moment. Moreover, it played a crucial role in establishing the Western genre as particularly fitting for this novel medium, even though it was filmed in New York and New Jersey.

In the same year, Brian Skiba’s new film “Gunslingers” is classified as another “eastern Western,” filmed in Kentucky. However, unlike his previous works, this one offers a glimpse into how the genre lost its freshness and became predictable due to repetitive storytelling and excessive exposure even before the 1950s television era flooded us with Western content. This production could be compared to the low-budget Westerns of the past, but it’s significantly more brutal and explicit. Unfortunately, the violence and profanity can’t mask a significant lack of depth or creativity in this Lionsgate release. It will hit theaters, digital platforms, and on-demand services starting April 11.

It appears that Skiba has churned out 14 movies since the beginning of 2020, with “Guns of Redemption” being the latest release only last month. Given their similar themes and locations, it’s possible that “Gunslingers,” which followed closely, was made concurrently. The consistency in quality across these films suggests a need for slowing down, or so it seems. These movies seem to adhere to basic genre requirements but not much more. Although they are technically sound and feature familiar faces, their lack of originality, style, or inspiration make them merely passable time-fillers rather than enjoyable experiences. They move along without a sense of urgency or character depth, remaining pedestrian instead of rising above the ordinary.

In 1903, New York City, a heated argument involving elegantly dressed men takes place in a hotel or apartment suite. During the commotion, Thomas Keller (Stephen Dorff) feels compelled to defend his brother when he is under attack. Unfortunately, this results in Thomas killing one of the men involved. As it turns out, the man Thomas killed was related to the Rockefellers. Upon realizing this, Robert (Jeremy Kent Jackson), their brother, exclaims in despair, “You’ve sealed our fate!” before sustaining what appears to be fatal injuries himself.

Four years have passed, and I, Thomas, am leading a clandestine life in the southern regions, persistently haunted by bounty hunters in pursuit of the historically monumental ($100,000) reward for my alleged crime against Rockefeller. I stumble upon a town known as Redemption, where it’s whispered that every resident is marked for death or capture. Their unusual practice involves feigning their own hangings and burials, meticulously documented by the local photographer, Ben (Nicolas Cage). The town is governed by a preacher-leader named Jericho (Costas Mandylor), who offers a chance at rebirth following these staged deaths. This town presents an opportunity for me to start anew under a new identity, but I must tread carefully as every face in this place holds a hidden secret.

The idea is solid, but the story “Gunslingers” doesn’t delve deeply into the daily life of the peculiar town or the personal histories of its inhabitants before a large group arrives in search of Thomas. This group is led by none other than Robert Keller, who it turns out did not die, and now holds his older brother responsible for leaving him behind. (We never learn how they got involved in a deadly feud with a Rockefeller heir.) He refuses to accept the false hanging story, threatening to cause chaos among the locals until Thomas gives himself up. Additionally, Val (played by Heather Graham), his wife, and their daughter Grace (Ava Monroe Tadross) have fled there to find and warn Thomas themselves. It’s not hard to guess which Keller she is truly attached to, or whose child Grace truly is.

The majority of the movie revolves around a prolonged gunfight involving former criminals who’ve banded together and formed a close-knit group – featuring characters portrayed by Cooper Barnes, Randall Batinkoff, Scarlet Stallone, Tzi Ma, Bre Blair, Laurie Love, Mohamed Karim, Forrest Wilder, and William McNamara. On the other side are law enforcement officials who wear red kerchiefs but are actually the true antagonists in this story. A sinister, laughter-prone villain with an eyepatch and burn scars named Robert is clearly not going to keep any promises he makes to capture his brother, instead cold-bloodedly murdering people he’d just agreed to let go free.

In this story, there isn’t much psychological or physical suspense built up. Despite numerous stunt professionals falling from balconies and porches with fatal gunshot wounds, the scenes lack tension. Even when situations seem promising for creating tension, such as several characters being left hanging on the gallows later in the story, Skiba’s direction and editing don’t effectively heighten the drama.

The movie ‘Gunslingers’ doesn’t seem to showcase the best talent from its cast members, ranging from adequate performances to those appearing overly contemporary and unconvincing in a setting that already feels like a western role-play event. The dialogue provided by the director-writer isn’t helpful in this regard either. Most actors try their best, but the quality of their work varies significantly. Wide-eyed Graham and hammy Jackson struggle to deliver performances beyond their personal bests. As for Nicolas Cage, he adopts a comical sidekick persona reminiscent of Walter Brennan, coupled with a gravelly voice that sounds like an ancient bluesman. However, this blend feels more like an unsuccessful improvisation idea and becomes tiresome from the start.

The film is filled with unexpected scenes of graphic, amateur-performed surgeries and has a high death toll, but lacks the authenticity of setting or character development needed to make such intense action impactful or even thrilling. The production quality is generally acceptable, although there are occasional questionable digital effects. The cinematography by Patrice Lucien Cochet is shot in widescreen and has a dull color palette that makes the visuals rather bland. Richard Patrick’s score often leans towards deafening intensity, yet the dramatic elements don’t warrant this, with its overpowering approach extending to as many as three heavy rock songs during the end credits.

Read More

2025-04-11 03:47