7 Underrated Westerns from the Last Decade
By Elliott Cuff
It’s funny how drastically our movie opinions can change over time.
When I was growing up I’d often see westerns on TV, especially at my grandparents’ house, where John Wayne, Lee Marvin, and Jimmy Stewart regularly took up residency on their television set.
I judged westerns poorly back then. To me they were all dull and uninspired and “too old”—an excuse not to watch or enjoy something that baffles me today. It took until my early twenties to fully appreciate the western as a genre, and see just how diverse and exciting it continues to be.
Here are a few lesser-known titles from the past decade that are well worth seeing.
The Keeping Room
I’ve always loved how often westerns place extra emphasis on dialogue choices and extended silences, and The Keeping Room is one such example that thrives on the gaps between speech. It’s a slow and particularly bleak home invasion film with sparse crackles of dark and visceral violence. It looks amazing too, using its desolate setting to paint an almost apocalyptic portrait of Civil War-era frontier life without an ounce of Hollywood glamor—all while slowly building tension until it’s positively palpable.
I can’t recall another western that so effectively fuses frontier feminism with suspenseful genre thrills as organically as The Keeping Room does, and in that sense the film stands out from the pack as a uniquely disturbing and intense piece of Old West storytelling.
Jane Got A Gun
Like all great revisionist westerns of old, Jane Got A Gun invests time into developing complex interpersonal relationships and establishing preconceptions about our central players, but then slowly sheds light on events that successfully alter our perspectives.
It’s impressive enough that the film works at all given a production schedule that was turbulent to say the least. But Natalie Portman’s convincing portrayal of an aggrieved frontierswoman hardened by horrifically bleak trauma elevates the boilerplate genre storytelling.
The film doesn’t burst with passion and energy like an old-fashioned shoot ‘em up—instead, it gives off an air of exhaustion, perhaps brought on by the unrelenting violence and exploitation of the Old West. It’s a laconic piece, but all the better for it.
Slow West
Positioned somewhere between a standard revisionist western and a dark comedy, Slow West is a weirdly offbeat piece that builds to a compelling crescendo of violence and nihilism—a quintessential cocktail made from elements typical of this genre.
Slow both in name and nature, director John Maclean’s directorial debut has plenty of time and space to breathe, allowing us to settle in with the primary players and absorb their differing personalities. Kodi Smit-McPhee and Michael Fassbender thrive as conflicted characters, both of whom are shaped and influenced by the world around them.
Slow West commits to breaking down the black-and-white perception of the Old West and it does so through a compelling narrative, engaging characters, and a thrilling third-act showdown, not to mention some of the most impressive visuals I’ve seen in a modern western.
Michael Fassbender and Kodi Smit-McPhee in Slow West.
In a Valley of Violence
Despite being known primarily for his work as a horror-oriented filmmaker, Ti West created this engaging western homage as a stylish and smartly conceived gunslinger story that benefits from a lively score, the scattered rattle of gunfire, and more than a few moments of effective black comedy.
Ethan Hawke plays the gruff, man-of-few-words protagonist who is predictably compelling and effortlessly plays well off James Ransone’s power-wielding deputy, Taissa Farmiga’s excitable hotel maiden, and John Travolta’s surprisingly convincing marshal.
It’s a slow movie that places weight on character interactions, which are almost always engrossing to watch. It essentially plays as a simple revenge film that takes itself just seriously enough to avoid the threat of self-parody, and West is able to expertly traverse those fine margins with ease.
The Ballad of Lefty Brown
Presented as an almost folkloric tale about an emblematic sidekick turned unlikely protagonist, The Ballad of Lefty Brown is a compelling throwback western about redemption and stepping into the spotlight, while also standing as a fine starring vehicle for Bill Pullman.
Though the film takes some time to build up steam, the deliberate pacing feels appropriate when taken in parallel with the development of our titular character, a flawed and poky individual whom Pullman fills with an unconventional grace and unwavering loyalty in lieu of the traditional hero traits of bravery and proficiency.
The film is more complex than it initially appears, and director Jared Moshe elevates what would have otherwise been overly familiar material with his obvious passion for the genre. The film dutifully acknowledges its old-fashioned roots and ought to be considered a modern western classic worth returning to.
News of the World
Director Paul Greengrass takes an uncharacteristically languorous approach to character-driven storytelling with this slow-burn marvel, opting for a more considered approach over his usual preference for urgent fare.
James Newton Howard’s beautiful score and Dariusz Wolski’s stunning cinematography take center stage, stealing the spotlight from the incredibly thoughtful and meticulous performances of both Tom Hanks and Helena Zengel on a journey through dusty post-Civil War Texas. Though slowly paced, News of the World springs with life and champions the art of storytelling.
Woman Walks Ahead
A finely etched character piece about two fascinating historical figures, Woman Walks Ahead touches upon themes of prejudice and disenfranchisement while avoiding a romanticized vision of the Old West.
Jessica Chastain is predictably wonderful as our spirited protagonist, but it’s Michael Greyeyes who impresses most, filling the famed Hunkpapa Lakota leader Sitting Bull with so much quiet gravitas through a soulful and sensitive performance—not to mention a consistently authentic relationship with Chastain’s Catherine Weldon.
The film is a stunning showcase of considerate cultural exchange, which makes it feel especially resonant today. Its special emphasis on the respect shared between two people, ostensibly across enemy lines, and the genuine nature of their connection makes the inevitable conclusion all the more heartbreaking.
Elliott Cuff is a writer, journalist, and film enthusiast. Follow him on Twitter @CuffWrites and Instagram @elliottlovesmovies.