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The Homesman Reviews
Without becoming a version of John Wayne and Katharine Hepburn from “Rooster Cogburn” as a blustering and bickering mismatched pair, both Jones and Swank stay true to the hardscrabble roots needed for this story
The Homesman is a beautiful film that brings a rarely seen female (and feminist) perspective to the stories of the Old West. [Full review in Spanish]
Muddier than the rough terrain it takes place on.
Tommy Lee Jones is completely at home in the role of a cantankerous, frank, gruff, and grizzled cowboy.
A masterful, fully sensory experience filled with visual majesty, immersing us in the life and lives of the time.
While it may afford us with a rare perspective of women's experiences in such a time and place, the film's narrative manages to appear misogynistic even as it appears to be developing an argument for agency.
While maintaining a very obvious respect for the genre, the film is terribly current for several reasons. [Full Review in Spanish]
A defiant rejection of genre cliché with a resonance that is hard to shake.
When it works, beautiful and bestial.
With The Homesman, Jones has produced an original and cantankerously offbeat western which becomes increasingly beguiling as the road stretches on.
It feels like a missed opportunity but there is still quite a bit to enjoy.
The Homesman is a dark, complex story of gender issues and changing conventions on the frontier, and in an era that sees this genre fading, Jones has made a Western winner.
Hilary Swank gives a particularly good central performance -- but the end result is a real curate's egg: too much at times, underdeveloped at others and marred by a huge plot twist that stops the story almost in its tracks.
It's a film worth seeing before the crowd of Oscar contenders sweeps it out of the way for the holiday season.
Clear-eyed but never discompassionate, The Homesman collects uneasy truths that are all too often left by the wayside of our nation's road to success.
As a director, he's batted it out of the park. Twice. First with the eloquent and little-seen The Three Burials of Melquiades Estrada and now with the hardscrabble brilliance of The Homesman.
A fair portion of Tommy Lee's life has been dedicated to telling stories about schlepping variously incapacitated or dead people long distances through the Wild West.
If 'The Homesman' proves anything, it's that there's no movie that can't get a shot in the arm from a couple scenes of Tommy Lee Jones hollerin' and dancin'.
If Jones wants to become a great director of a dying genre, he cannot simply hope to mimic what the masters did. He must instead explore the meaning of each image he creates.
With his sophomore effort, The Homesman, Jones gives us a revisionist Western that defies expectations at every turn. It's a genuine art film in the vein of Aussie productions like The Proposition.