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I have to admit that one of the things I enjoy about films is when the climax of the film starts with the piercing screams of a child. That would get me standing up. And then I see a bloodied dead child that explains the screams. Yup. Just hooks me right in.
“Forsaken” manages to recover from its stressful, labored opening moments after some time (although I do nitpick and say that it never really justifies them, even though the event displayed is quite crucial in one character’s backstory). It takes a little while. Jon Cassar directed this film, which was written by Brad Mirman. This film is a Western, and while it would still be inappropriate to call it an “old-fashioned” Western, its backbone is one of its pleasures. This movie is not about empty promises, and it’s not interested in making amusing it does not intend to keep. It’s engaging and in the end, thrilling.
The highlight about the film is, believe it or not, it’s the very first notable collaboration between father-and-son actors Donald Sutherland and Kiefer Sutherland. They had appeared in a movie together before, although it is largely forgotten now, the 1983 Neil-simon comedy “Max Dugan Returns”. That was during Kiefer’s teenage years. He has since grown up into, among other things, a superb, perhaps even great, actor, although most would argue that he has not starred in many great films. In the movie, he stars as John Henry Clayton, a civil war veteran who is well beyond his home. As he journeys back towards his father’s quiet farming town, Reverend Clayton – played by the elder Sutherland, otherwise what would be the point, right? – shows John Henry several modes of disapproval. Along the way, John Henry has gained a reputation, to add to his disgraced legacy, as a gunslinger. In addition to this, his mother is no longer alive, which makes the Reverend’s disgust that much more bitter. “You would have come home if she was dying but you wouldn’t come home while she was living and full of hope,” the Sutherland character states.
“Hang on” – you may be thinking. “I was under the impression this movie had points in its favor.” Yes, that quote from dialogue is rather blunt and in your face, but if anyone can sell such stuff, it’s Donald Sutherland. And he does, and the dialogue gets much better. Those who follow celebrity culture and know even a little of the problems Sutherland fils has had to deal with will have another level of interest in the dysfunctional family dynamic here but it works just as well if you haven’t picked up a copy of People Magazine for the last thirty years or so.
The father-son conflict would suit as a picture by itself but this is a Western, and the conflict breaks out quite early. John Henry seems determined to study ‘war’ no more and goes home sidearm free. He goes about his business setting to work clearing a field. But as usual, destiny has a different plan prepared. A land grabber, McCurdy (Brian Cox), has hired an overly talkative gunslinger, Dave Turner (Michael Wincott), to convince townspeople to relinquish their land in expectation of a – insert eye roll here- railroad station. Dave is sort of a gentleman, however, the confederates McCurdy has attached to him particularly Frank Tillman (Aaron Poole) are no such beasts. These fellows have heard of Clayton and are worried he might stir trouble. When Clayton assures them he is not about to stir the pot, they seem to encourage him to do so. A Former lover of John Henry’s, Mary-Alice (Demi Moore) also complicates the matters further with her husband Tom (Wesley Morgan) who is easily brought to jealousy.
Yes, that’s right. Demi Moore is in it and she is quite good too. While she was once infamous as being a disreputable person who neglected the time period (her “Scarlett Letter,” anyone?), she performs here modestly and very believably. Another standout performance comes from Michael Wincott. He makes a real character out of his character. All the cast members build on the performances of one another masterfully as the suspense escalates. McCurdy grows slimier in his scheming, Tillman, more volatile, Turner more exasperated at being forced to work with amateurs. And John Henry continues to take taunts and hits. (He gets smacked as much as Mel Gibson used to in an average “Lethal Weapon” movie.) You know there will be a breaking point, and when it comes, the ensuing action is very satisfying. Director Cassar worked with Sutherland on the TV series “24,” so he knows about building tension, and he also knows when to get out—he brings the movie in at a little over 90 minutes.
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