Well Deserved Praise

Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

One of the best movies of the year! Incredible from the beginning to the end.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

I do not know if it could be considered a good film. maybe, a correct one. because it has many virtues who define a beautiful storytelling, smart trip across delicate themes, the meet with real admirable actors - Miriam Colon is an example, the great performance of Lucas Black. a western who preserves a special air. not always credible, not always coherent, but giving that beauty who determine you see it again. for a specific scene, for a specific actress/actor or , maybe, for the flavor of a state of soul. so, a film full with virtues. this is all !

I had high hopes for this film, as it was based on a beautifully crafted, dry novel by Cormac McCarthy. Whose usual habit is to focus immensely on the harsh reality and depravity which often comes with human existence. I did not get the same enthralling sensation watching the film as I did when reading the novel. The film lacked in the quality which came with reading the novel and was utterly frustrating to view. Not to mention the fact that the novel was largely a coming of age text, as the two main protagonists were supposed to be 16 years old, however in the film they looked like they were in their mid thirties. In saying that, the film blatantly ignored that aspect of the original text. Don't watch the film if you've read the novel, it'll disappoint you.

The storyline sounded like a classic 'western' adventure; it turned out to be just that. Newer, 21st century westerns are expected to showcase the scenery with as much cinematographic style as can be mustered; in this movie, there could have been more resources dedicated to the cinematography, but it is still very beautiful to watch. Matt Damon has made just a few 'western' movies, his first with none other than Robert Duval and Gene Hackman as the co-starring leads (in Geronimo). The only other that comes to mind is 'True Grit (2010)'. Only in '…Pretty Horses' does he have the lead role; that role was a demanding one because he is in almost every scene and he has to ride bucking horses, rodeo style. It hurt just watching him be thrown off the horse (I'll assume some of the rides were done by stunt-men because no guy from Boston could take that kind of abuse). I liked the adventurous story, the beautiful Penélope Cruz and all I can think of to improve the movie would have been to throw in a cameo by Duval or Tommy Lee Jones perhaps.

All the Pretty Horses is directed by Billy Bob Thornton and adapted from Cormac McCarthy's novel of the name name by Ted Tally. It stars Matt Damon, Penélope Cruz, Henry Thomas & Lucas Black. Marty Stuart scores the music and Barry Markowitz photographs it. Plot finds Damon as John Grady Cole, a young cowboy who travels with his best friend, Lacey Rawlings, from Texas across the border into Mexico. It's a journey that sees acquaintances come and go, love blossom and the harshness of the world become all too real to such young eyes.A big financial disaster for Columbia Pictures and Miramax Films who lost nearly $40 million on the film. Serves them right I say, for Thornton's original cut was a long epic piece thought to be around three and a half hours in length. But good old Harvey Weinstein demanded drastic cuts to be made and Thornton had to trim it to just nearly two hours in running time. That's a lot of story gone astray, and boy does it show, no wonder Damon himself bitterly commented that to lose 35% of your movie ultimately leaves you with a completely different film. It's such a shame because although it's now a film chocked with flaws and flow problems, one can see that in its original cut there had to be at worst an involving rites-of-passage story.So what are we left with? Well it's certainly not a donkey. It drips with period atmosphere and comes resplendent with a poetic beauty thanks to Markowitz's photography. Stuart's score too has the tone absolutely right, blending the old feel of the West with evocative arrangements for the more tender moments involving the protagonists: and there are tender moments, notably between Cole (Damon youthful but not really exuding a naivety for the age of the character) & Rawlings (Thomas effective and dominating his scenes). That the crucial relationship between Cole and Alejandra Villarreal (Cruz weak and lacking believability for the romantic strand) is barely formed can be laid at Weinstein's door. So too can the fact that a number of characters file in and out with blink and you miss them parts, sad when it's the likes of Robert Patrick and Sam Sheperd; and tragic in the case of Bruce Dern's judge; the latter of which is a crucial character in the final quarter but gets about three minutes screen time. Madness. Star of the movie is Black, who as young ruffian Blevins, manages to convey a deep sense of vulnerability. It's a critical role, one that affects the main character's lives, and thanks to Black's spirited performance we anxiously await what fate has in store for the lovable rogue.So much good to sample, then, even if it feels like going out for a three course dinner and finding the main course is no longer available. It's hoped that one day we may get a directors cut from Thornton, only then you feel will All the Pretty Horses be revealed as a potential thoroughbred. 6/10