‘The Rivals of Amziah King’ Review: Matthew McConaughey Shines in a Bluegrass Western Thriller That Could Make Angelina LookingGlass a Star

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Six years have passed since Matthew McConaughey graced our screens with a film appearance, but “The Rivals of Amziah King” is the one that enticed him to return. The character he plays in this movie perfectly complements his rugged, aging-rebel-redneck charisma, and yet it presents something distinctly new for him.

The movie stands out unlike anything else you’ve watched, boasting strengths in its first half and weaknesses in its second that don’t always make sense. However, there’s an unconventional boldness to this film, a neorealist beekeeper musical Western revenge tale, that resonates deeply within you. The director, Andrew Patterson, possesses a unique vision – of life and storytelling – which he executes with such self-assured energy and enthusiasm that even when things don’t quite click, you might find yourself being drawn along, because independent filmmaking is all about daring to unravel a narrative on the tightrope.

Patterson frequently takes shortcuts in an audacious manner, yet he’s always aware of his actions when directing actors. He manages to draw a compelling performance from McConaughey and introduces a new talent, the indigenous actress Angelina LookingGlass (this is her debut role). After watching, you might find yourself convinced that she’s destined for stardom. She exudes radiance, cunning, subtlety, and charm, keeping viewers captivated throughout this drama set in the heartland. It blends real-life elements with a self-aware, fable-like quality.

The story unfolds in rustic Oklahoma, with McConaughey portraying Aziah King, a seasoned beekeeper who’s also a born-again Christian, grappling with a past marked by loss (he’s a widower with a heart condition). Despite his troubles, he embraces life wholeheartedly. In the initial scene, Aziah and his companions assemble in the parking lot of a nearby fast-food joint, pulling out their musical instruments to play bluegrass tunes. It doesn’t matter if there’s no audience; they’re playing for their own enjoyment. There’s an infectious delight in their music that reminds one of Mumford and Sons before they hit the big time.

In this scenario, a police officer requests Aziah’s help as they have discovered a truck filled with 20 barrels of stolen honey, valued at a quarter of a million dollars. They ask if Aziah can trace the origin of the honey. This situation seems fitting for an unusual thriller, but things take an unexpected turn: As Aziah begins operating his high-speed honey extractor (a device that spins rapidly), one of his musician friends, Tony Revolori, leans in too close, and the machine accidentally scalps him, removing a strip of skin along with his hair and ponytail. The events that unfold, including getting him to the hospital and retrieving the scalp from the extractor, are both nauseating, comical, and captivating in an unpredictable way, setting the stage for the rest of the movie. This film challenges our preconceived notions.

The following day at a diner, Amziah encounters none other than Kateri (Angelina LookingGlass), who was once a foster child living with Amziah and his wife for two years when she was eight and nine. After Amziah’s wife passed away, they lost contact. However, the heartfelt glance exchanged between them hints at their enduring bond, demonstrating the skillful storytelling of a humanist filmmaker. As a lonely man, Amziah proposes to take Kateri under his wing and teach her the intricacies of the honey trade – a profession that is not just a job but a profound calling, as vividly portrayed in films like “Ulee’s Gold” or the Macedonian documentary “Honeyland.

In this scene, McConuaghey’s joy shines as he savors the moment when Amziah brings Kateri to a potluck and explains each dish’s significance. Similarly, there is a scene where he and his friends perform music in Amziah’s kitchen with Kateri joining in. At first, she finds it invasive, but as she begins to sing, the movie seems to rediscover the true essence of music: a profound connection between ordinary people. For its initial 45 minutes, “The Rivals of Amziah King” embraces a realistic portrayal of contentment.

However, as expected, things don’t stay perfect for long. One morning during the learning phase of the honey business, Kateri finds herself strolling towards Amziah’s hive boxes and realizes they’ve been pilfered. I won’t spoil the story, but it quickly becomes clear that Kateri must take charge of the business. Unfortunately, with a debt of $30,000, this situation isn’t sustainable unless she can recover those stolen hives – an endeavor that will plunge her into a nest of local corruption.

In the second half of “The Rivals of Amziah King,” Kateri, initially appearing innocent, transforms into a covert heroine. She relies on assistance from her former coworker Oat (Jake Horowitz), a tech-savvy individual, and Cole Sprouse, portraying the closest equivalent to a charming leading man in this film. However, it’s largely Kateri who takes charge in seeking justice, sometimes showing an unexpected lack of regret. The film’s overall positive Christian vibe might be counterbalanced by its harsh retribution streak. As Kurt Russell, resembling the star of “The Steve Bannon Story,” enters as a greedy local honey magnate, reminiscent of John Huston in “Chinatown,” you can’t help but anticipate his comeuppance.

As a cinephile, I found myself grappling with the second half of the movie, as John Montague’s script seemed to veer from the realm of plausibility. However, director Patterson managed to maintain an intriguing tension throughout, keeping the film unsettlingly unpredictable. It was Angelina LookingGlass who breathed life into this humanist thriller, her captivating stoicism and resolve echoing the movie’s underlying message – that sometimes, in the harsh realities of life, you must act cruelly to be kind.

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2025-03-11 11:34