Brilliant and touching

It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

"The Old West is not a certain place in a certain time; it's a state of mind. It's whatever you want it to be. -" Tom MixI should have liked the Zellner brothers' Western comedy, Damsel, much better than I did. It has elements of Mel Brooks and the Coen brothers when they mine the satire of a genre very long in the tooth. The difference: writing. Brooks with his inspired goofiness (Blazing Saddles) and the Coens with their light-hearted larceny (Raising Arizona), have characters using language much smarter than they are, whereas The Zellners' lines are deadpan but dull even though they use elevated diction as the Coens so often do. Using contemporary lingo like "win win" and "real deal" doesn't titillate as it should. In addition, Zellners' language lacks strong affinity with bigger issues.Samuel (Robert Pattinson), a rich pioneer, engages a sham preacher, Henry (David Zellner), to officiate at Samuel's wedding to Penelope (Mia Wasikowska). In their journey with a miniature horse, gift to Penelope (not the waiting Penelope of the Odyssey), the two must deal with their naiveté and the vagaries of raw Western staples like rot-gut whiskey, duplicitous Indians, and bad campfire ballads (Samuel's ballad to Penelope, called My Honeybun, is a weak companion to Brooks' notorious campfire scene) While this set-up is rich fodder for satire, most of the jokes fall as flat as Penelope's affect and as dry as the joke about a fool in a barrel being strung up for no obvious reasons. Westerns are ripe for satire, but the flat line here comes not from the fine performances but the tepid minimalist script and uninspired cinematography. Wasikowska is marvelous as the independent and bitter love interest, Pattinson showing once again that he is much more than a teen heart-throb. The Zellners have the right motif about loneliness; they just need to beef up the languid language and droll action.

Are film schools and institutes like Sundance and AFI giving young filmmakers some sort of mandatory class on "revisionist westerns?" I get the feeling that every grant-supported filmmaker is in some sort of race to make the world's most boring "lyrical reimagining of the west." The Ballad of Lefty Brown seemed like the nadir for this genre, but Damsel just said "hold my beer."This may be the world's first Twitter Western. It seems to have been made for the limited purpose of being praised on blogs and in Facebook by milquetoast NPR liberals: the kind who can't tell the difference between Naomi Klein and Gina Haspel. The movie is polite enough, at least, to essentially tell you exactly what to say in your laudatory blog post or tweet; the subtext is essentially the text.Damsel squanders beautiful photography, an evocative score, and a dream cast on hours of tedium, terrible attempts at absurdist comedy with sub-Mad-Magazine daffiness ("You are convicted of skullduggery, skullthuggery, and skullbuggery"), and cringe-inducing audience pandering. (Does it count as a spoiler if I tell you that all white men are rapists and racists?)Before the big twist a third of the way in, the movie is tiring but bearable (like Meek's Cutoff but with bad jokes and great music). The twist adds five minutes of surprises and interest - and then the next hour or so is essentially the filmmakers running out the clock, hoping to drag this pile to feature length.When your movie makes The Little Hours and Your Highness look like Bicycle Thieves and Rashomon, you're not on your way into the canon.

What a piece of crap. I've seen movies that were worse, but few that I deeply wanted to leave early more or that pissed me off as much. It has *some* merit (beautifully shot, a couple amusing moments). But ultimately: millennial garbage par excellence. These two brothers wrote and directed it, and they clearly think they are the Coen brothers with a hint of Wes Anderson for whimsy. What's more, they stole their take on male hope-projection onto a beautiful women from a much better film: There's Something About Mary.In attempting to subvert masculine cowboy tropes, they made a hack film of a different sort: one that is accepted because it panders to popular opinion among people who go to the renovated art house movie theater in the part of town they gentrified with their trust fund bucks. It isn't that the opinion is wrong or uninteresting in and of itself, it's just relayed in this film in such a hack, lazy, glib, boring way by people certain they're more clever than they are.It would have taken an amazing female lead to overcome the middle-school quality writing and all-too woke directing; their naturalistic take on zany Wes Anderson-movie dialogue was excruciating in certain scenes and I could have easily believed a teenager wrote it. But what was committed to film was one of the worst performances I've ever seen by an actor. To believe this woman was capable of starring in this or any picture is a strong indication you're as irrationally obsessed with her as the film's characters.The result of all of this is a movie only certain people could enjoy: privileged white young women who can't get enough of having their shallow politics pandered to and the men who subconsciously know they must share the same opinions if they want a social life, so they self-righteously and vociferously do: in other words, woke drama queens who will their victimhood while boasting their empowerment and their male allies (tm)/hangers on. Great movies don't pander. They make people find unlikely surrogates. True subversion requires excellence and subtlety this film doesn't come close to touching as it bashes its hack message into the faces of too many grateful to be bludgeoned with their own ideas. It doesn't even require pretentious art house claptrap to attempt to subvert. Blockbusters like The Hunger Games--a film where the damsel is literally a cute, cake-baking boy who is saved by the ass-kicking heroine--do much more to change expectations and advance gender relations. That's in no small part because that movie is well crafted. It's a good movie to a broad audience (no pun intended). Damsel preaches sloppily to its own choir of loathsome millennial hipsters. I'd be just as pissed off watching a Kurt Cameron loves Jesus movie that pandered to evangelicals, and I'd be pissed for for the same exact reason. However, what's really troubling is the thought that this is the future of media post #MeToo. Indeed, that's scarier than Hereditary.

Quirky comes to mind. out of the ordinary. unusual. fun. this is not a film for young people, but for movie goers old enough to enjoy good film making. the plot doesn't matter, but it's a frontier woman dealing with circumstances as they present themselves. the directors have a hard time wrapping things up, but that's all right. and it's always a pleasure to see Robert forster. he never quite "made" it. who knows why!