Review of Director Jon Favreau Film Cowboys & Aliens starring Daniel Craig
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COWBOYS & ALIENS (2011)
CLOSE ENCOUNTERS OF THE TURD KIND
By Bryn V. Young-Roberts
Cowboys & Aliens (2011) Directed by Jon Favreau. USA: 12. When residents of a small town in the American Old West of 1873 are abducted by extra-terrestrials, wanted amnesiac outlaw Jake Lonergan (Daniel Craig) and his enemy, the criminally merciless cattleman Woodrow Dolarhyde (Harrison Ford), gather a small posse of men to form a search and rescue party. Accompanied by the mysterious Ella Swenson (Olivia Wilde), who has insider knowledge of the aliens, the band survive attacks from advanced flying weapons, evade capture from bandits and form a union with Indians. Eventually they defeat the invaders and save their people, but it comes at a price… Considering the consistent failure of science-fiction / Western genre fusions in film history, (1980’s Heaven’s Gate, 1999’s Wild Wild West), Cowboys & Aliens takes a brave, bold and ambitious stride toward being the first financially successful offering. And fails. To his credit director Favreau actually manages both genres well; each making competent, if a bit dull, Western and sci-fi films within their own right, but lacking a comfortable integration despite a somewhat credible merging. |
The film successfully sells the idea of 19th century Americans interacting with extra-terrestrials, despite the fact they seem almost completely unfazed by the revelation that there are otherworldly beings sharing their continent, but falls short on making it engaging.
The 19th century human reactions to an attack from extra-terrestrials is believable but largely only due to an omission, the avoidance of any persistent awkward questions of their origin which is accompanied by a lack of commitment to the proposed religious ‘demons’ explanation. Cowboys & Aliens successfully transitions its cowboy characters from the traditional Western genre obsession for oneself and immediate community to modern men with global concerns brought on by world-changing technology, but misses an opportunity to make any sort of social comment. Even its attempted parable criticising Manifest Destiny and its effect upon Native Americans is half hearted and confused.
The 19th century human reactions to an attack from extra-terrestrials is believable but largely only due to an omission, the avoidance of any persistent awkward questions of their origin which is accompanied by a lack of commitment to the proposed religious ‘demons’ explanation. Cowboys & Aliens successfully transitions its cowboy characters from the traditional Western genre obsession for oneself and immediate community to modern men with global concerns brought on by world-changing technology, but misses an opportunity to make any sort of social comment. Even its attempted parable criticising Manifest Destiny and its effect upon Native Americans is half hearted and confused.
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Amphibious-looking aliens in the film are original, with tiny t-rex like hands emerging from their open chests allowing them to look otherwise primitive and menacing while explaining their ability to construct an advanced civilisation. Unfortunately they are also amorphous and entirely ‘othered’ lacking any backstory or individuals to feel compassion for. While costumes and props are pleasing on the eye, they all seem a bit too neat and clean for the sake of authenticity. There is no doubt that the film looks great, set design and cinematography contributing to a very polished yet accessible environment which is only let down by an uncharismatic script.
Craig and Ford fondly act their characters as though they are exchanging witty verbal banter, which sadly never actually happens. While Craig performs the role well, instantly delivering a character believable as a fitting opponent to Ford’s cruel villainous cattleman due to his Bond credit, he is also mis-cast, as his association with such a British icon sits uncomfortably in such a uniquely American archetype. Ford fits the role of authoritative, ruthless tyrant who makes the transition to a slightly less callous grumpy old man antihero remarkably well, in what is his best suited performance since Bruno (2009). Unfortunately the talented Olivia Wilde never supplies more than being ‘the girl’ due to a limited script, and even after a major revelation about her character, offers nothing but dull exposition with a dry delivery, as though she is deliberately acting deadpan to provoke the director into giving her more to do (but sadly he never seemed to have noticed).
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The wispy romantic subplot between Jake and Ella is forced and clunky, Craig relying on the Kuleshov effect to project even a hint of any passionate emotions towards his suitor. Likewise an even smaller sub-plot about a (poorly acted) young boy becoming a man through his struggles against the aliens, guided by the advice of Ford’s Dolarhyde, is even more contrived and unconvincing, damaging the film’s pacing almost as much as the love story does.
Overall the film thrives within the limits of the mediocre. It never reconciles its comedic title with its serious adventure tone, surprising given Favreau’s previous success in handling comedic elements in action films such as Iron Man (2008). While it offers up some interesting visual spectacles, they lack any accompanying substance and can all be found better elsewhere, in less predictable, more charming and exciting adventure films.
Overall the film thrives within the limits of the mediocre. It never reconciles its comedic title with its serious adventure tone, surprising given Favreau’s previous success in handling comedic elements in action films such as Iron Man (2008). While it offers up some interesting visual spectacles, they lack any accompanying substance and can all be found better elsewhere, in less predictable, more charming and exciting adventure films.
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