Bone Tomahawk

I think that, when it comes to film quality, there has never been a better horror movie with aboriginal cannibals. A week ago I complained that in Roth's Green Inferno hardly anything happens for half of the film. Here, the proportion between “introduction” and “action” is even more sober, but it doesn’t matter at all when you can see the difference in talent between Roth and the first-time director S. Craig Zahler. Ninety minutes are dedicated to introducing characters stubbornly determined to rescue the abducted inhabitants of a village. That’s enough time to sincerely start rooting for them, which also helped by the superb performances. The extremely brutal final half-hour then feels like a sucker punch, because the tribe of cannibals don’t fool around. It is very clear for everyone that these nice characters have walked into a place where they should have never been at all. I never imagined that the horror genre could blend so smoothly with the western. But Bone Tomahawk is both a really good western and really good horror. Very close to perfection. (25/10/2015)

Kurt Russell did not shave after filming The Hateful Eight - he let his beard grow a little more and embarked on another western. Only he left the vast snow plains and replaced them with sun-hot dusty rocks, perhaps to warm his bones (and actually his scalp). I would have wished it on him even if he hadn't made a great film, but he did. A brilliantly narrated film with interesting characters that you really get attached to, which all the time just knocks, hints, deliberately doesn't show everything and relies mainly on dialogue, only to literally tear off at the end and sink the poor viewer chained to the sofa into it even more. A boldly original film. If you know The Stalking Moon and you liked it, do not hesitate to watch this one. (16/10/2016)

Rough, raw, brutal and uncompromising and yet based mainly on the characters. And what will disappoint you even more is the unstyled and rushed ending, which lacks a proper finale and which turns away from those characters. The ending is simply too brief and quick considering how slow was in the first three quarters. (17/12/2015)

A garbage story filmed at a meandering, and therefore boring, pace that doesn't bother with logic and heads towards a dumb ending. The brutal opening and the first 20 minutes or so look very promising and seem to set up an atmospheric, gritty film that deviates from established norms. However, from the robbery and kidnapping in the deserted town onwards, it starts losing its grip and relentlessly gets worse and worse. The peculiar anachronistic dialogues are more of a nuisance as if Zahler was lightly inspired by Tarantino. The biggest mystery to me is why I still gave it two stars when I genuinely suffered in the second half. Maybe I was influenced by those enthusiastic comments and high ratings from my favorites. Well, we'll meet again and when I remove it from my memory slowly and painfully, they will explain to me what the cleverness and entertainment of the film consisted of. Overall impression: 30%. I remember a cannibal western that, in my opinion, reliably outperformed Zahler. That film was Ravenous from 1999, even though Bird wasn't a leading directorial figure. (05/04/2021)

Bone Tomahawk is broadly discussed and written about as a horror movie in a western setting or, conversely, a western that turns into a horror movie at the climax. This is a one-dimensional view, however, as S. Craig Zahler created an inventive revisionist western in his exceptionally polished debut. The new concept in his interpretation does not mean dirt, nihilism and rejection of heroism, which deconstructionist films like Unforgiven fall back on by default. Zahler brings forth a much more inventive, well-developed and original grasp of the iconic genre. The masterfully written film re-establishes the western for today’s cynical and enlightened times in that it conceives its iconic attributes with a sophisticated perspective, while concurrently updating its basic narrative formulas and ethos. Therefore, the Indians here are not savages, but rather in the figure of a professor they become a biting personification of the wrongs committed by white men, which goes beyond the cowboys not only in being familiar with nature and its wonders, but also with the breadth of knowledge, wit and intelligence. Similarly, the protagonist’s wife can be sarcastic, rational and intelligent, while adhering to the role of object and trophy. Heroism inevitably becomes synonymous with limitations, ignorance and stubbornness. The film’s most essential roles are played by troglodytes as anonymous monsters who defy rationality, returning danger, mystery and, mainly, an element of the strange to life on the edge of civilisation. Those are the ideal erratic, bestial savages like the Indians in the tales of the Wild West, before their traditional depiction took on the foul taste of genocide. As a result, Bone Tomahawk can place in the main female character’s mouth a memorable and eloquent line that provides scathing commentary on the machismo of the film’s men and, at the same time, serves as a heroic celebration of their tenacity and determination. (11/07/2016)