Dramatic events begin to unfold on a ranch in Montana when two very different brothers come together.
Written and directed by Jane Campion based on Thomas Savage's 1967 novel, it's nothing to write home about despite it critical acclaim. Not holding a candle to other Western dramas. To be blunt it's tedious at best.
While the production and acting is high quality including the likes of the excellent Benedict Cumberbatch, Kirsten Dunst (alcoholic Rose), Jesse Plemons and Kodi Smit-McPhee; the film itself is as melancholy and tormenting as its themes. There's just not enough meat on its slow burning bones. Or enough engagement in the subtle approach to the subject matter to make it intriguing viewing. Just because something is drawn out and/or lingering doesn't automatically make it good to warrant further artistic merit.
Both Ari Wegner's cinematography and Peter Sciberras' (a few continuity errors aside) editing is notable. The Power of the Dog's issue I don't think is Campion's direction per se, borrowing framing from the likes of The Searchers (1956), or the over powering score from Jonny Greenwood; it possibly stems from the source material that this adaptation adopts by default. There's better films that deal with sexuality, alcoholism, masculinity, vengeance and the West. Don't expect a classic Western, it's not in the vein of Once Upon a Time in the West (1968), nor the Unforgiven (1992) or more recently The Hateful Eight (2015) and The Sisters Brothers (2018).
Unfortunately, this is drudge of boredom, with sincerity; it's probably best to read a Greek tragedy instead.
Written and directed by Jane Campion based on Thomas Savage's 1967 novel, it's nothing to write home about despite it critical acclaim. Not holding a candle to other Western dramas. To be blunt it's tedious at best.
While the production and acting is high quality including the likes of the excellent Benedict Cumberbatch, Kirsten Dunst (alcoholic Rose), Jesse Plemons and Kodi Smit-McPhee; the film itself is as melancholy and tormenting as its themes. There's just not enough meat on its slow burning bones. Or enough engagement in the subtle approach to the subject matter to make it intriguing viewing. Just because something is drawn out and/or lingering doesn't automatically make it good to warrant further artistic merit.
Both Ari Wegner's cinematography and Peter Sciberras' (a few continuity errors aside) editing is notable. The Power of the Dog's issue I don't think is Campion's direction per se, borrowing framing from the likes of The Searchers (1956), or the over powering score from Jonny Greenwood; it possibly stems from the source material that this adaptation adopts by default. There's better films that deal with sexuality, alcoholism, masculinity, vengeance and the West. Don't expect a classic Western, it's not in the vein of Once Upon a Time in the West (1968), nor the Unforgiven (1992) or more recently The Hateful Eight (2015) and The Sisters Brothers (2018).
Unfortunately, this is drudge of boredom, with sincerity; it's probably best to read a Greek tragedy instead.