The greatest movie ever made..!

One of the most extraordinary films you will see this year. Take that as you want.

Mostly, the movie is committed to the value of a good time.

This is a gorgeous movie made by a gorgeous spirit.

I can't call this a Western. Sure, it is set in the West, but it is far too dull to call a Western.The story is about a bonding between two guys we could care less about, and who are more gay towards each other than the men of Brokeback Mountain.The two aren't likable at all. No one is really likable. The story plods along, but it well acted, mostly by unknowns, although a few famous names are in this.In the end, we see how self righteous and insane both of these two guys are. I actually don't blame the younger brother for what he does later. To him, these two must be like terrorists, relentlessly attacking him for no reason. He's backed into a corner, and it is impossible to feel sympathy for the older brother or his red neck punk friend.Sadly, it seems evident that the director wants the viewer to empathize with the kill crazy hero. We can empathize with the mother, who is the lone sane character in this piece, and how she negotiates with the maniac. It's scary that there are people who think this maniac is identifiable and deserves any respect whatsoever.

First of all, let me say I don't generally like Woody Harrelson, but I thought he did a superb job in this picture.Billy Crudup plays Pete, a likable cowboy who returns from WWII to work his own land with some cattle he buys using his GI salary. Harrelson plays "Big Boy," his best friend; they both are averse to working for "Jim Ed" (Sam Elliot in a rare bad guy role), who owns most of the town and environs. It's a typical plot, with the little guys pitted against the fat cat, but one which is developed in a very realistic way. There were no gun fights or barroom brawls -- incredible for a Hollywood western! And the little guys just get by -- they don't somehow crush the fat cat. Quite refreshing.I'll stop my praise-fest to say that no real Pete could be as stupid as this one. His would-be sweetheart Mona (Patricia Arquette), who couldn't wait for any of the GIs to return and married the first guy who asked her (her hubby works for Jim Ed, of course), flirts unabashedly with both Pete and his best friend Big Boy. Unbeknownst to Pete, who still holds a candle for her, she closes the deal with Big Boy, yet continues to lead him on. Meanwhile, Penelepe Cruz plays "Josepha" (she is obviously Mexican-American, and therefore should be "Josefa"), who loves Pete and waited for him throughout the war. Needless to say, she is HOT. Pete is obviously blind and does not see this.This is where I have to stop and protest. Since when does Arquette come anywhere near the beauty of Cruz? Let's not even discuss appearances; in the movie Josefa exudes innocent and virtuous yet sexually attractive energy, whilst Mona is obviously nothing more than a cheap slut. Nevertheless, Pete is obsessed with Mona. Almost totally unbelievable. You feel for Pete, yet at the same time you condemn him for his blindness and stupidity.Eventually, after he gets slapped in the face about a million times, Pete comes to his senses. Even in this reversal, the movie represents reality, because there are smart people who become stupid through the miracle of LOVE, and yet at some point see the light.I was not prepared to enjoy this movie to the extent I did, having read a lot of reviews, but I have to agree with those who endorse it. It's well done and leaves you feeling good. A most enjoyable film.

People walked out of this film, presumably in disgust, perhaps because they were too hip for woody harrelson. I'm glad this film pissed people off - it proves it was stupidly honest, stupidly nostalgic, stupidly big-hearted and not cynical, clever, PC nor anti-PC, not a mockery of anything. It's an American film by a British director, and like Lolita, boils thick Americanisms down to crystals of statement, taste, elan. How could anyone walk out on the fat man yodelling as the camera dollied in to that tight close-up?! It was a gem of a shot, a little gauche perhaps, not unlike the marlboro country the film rolls through, and the naked desire for the days when men were MEN - with winning hands, whiskey shooters and a tasty redhead named Mona... But this isn't leering masculinity bristling with three day growth! There is a notable absense of guns (for a western), and when they appear they are not sharp and shiny but heavy, tarnished and chunky. This is MC Solaar's nouveau western - cutting up slow shy grins, dusty scuffles, mewling coyotes and a lugubrious soundtrack heavy with sentimental strings, trumpets and the convenient pause for punctuation. This is true Hollywood, and I mean that as a compliment. It was one of those rare occasions where suddenly you see the film as more style than substance. That's why it was showing in Darlinghurst and not the multiplexes! Because of Woody Harrelson - so stupidly generous, stupidly the big man with his big scruples and big square jaw - it is a film that could so easily slip by, scoffed at, discounted for wearing its heart upon its sleeve, pinned not far below the stars and stripes and the silver star for service to country, mateship as tight as knuckles, horses with bottom and all that glory.It's a movie for Kerouac, he loved this kind of carousing and childishness. Here, life is Hi and the cattle lo, plain Lo, yet another adopted child of Scorsese and his deep deep pockets. "From the depths of my reputation I bring you..." How dare he! Kidnapping the history of American film, like he was god's gift to world cinema, doing it all as a public service. But its worth it for Billy Crudup with his old man's shoulders, Billy with his switchblade, Steve with his necktie, straight six and coronary, LB and Bigboy - it all comes down to Bigboy - the backbone of the film, the gut-feeling and laboured gasp of this weighty piece of cinema.It's old-school treatment, all sinew and gristle, bloody hooves; pretty dresses, buddy bottles and mexican girls who visit fortune-telling witches. It's a film which doesn't teach America's children to express their anger with words not weapons. No, like Apache tank-killers and cruise missles flattening Serbian houses, it tells Americans to go hard or go home - take it square on the chin, tear those clothes off and take whatever gratification you can get whilst still being the best man, the best friend, a good man with a natural feel for horses. It's homestyle American apple pie, all fragrance and warm pressure, like a horse nibbling oats out of the palm of your hand. So rope em and rape em cause nothing's keeping a good man down cept for a bullet in the chest or a pair of wide open thighs... And while I bluster, it's all poetry in the Hi-lo country, with its bloated cattle and californian dreams, snow on the ranges and the good ol' boys, we're just telling it like it is...Further notes. The preview contains many scenes that are not in the film : wartime footage, bigboy coming back for pete in the blizzard. In fact the preview contains all the elements superfluous to the film. It is not the story of a woman coming between two friends, it's a story about a way of life coming to an end, a coming of age, and the quality of relationships.And returning to the generic music score I criticised earlier, from the preview I have identified (some of) it as sounding very similar to the opening to Fargo! What is this piece of music?

I have to admit it, The Hi-Lo Country is not the best movie ever made. However I did have a very good time watching it and it left me with that strange feeling that you sometimes get when a movie strikes you right in the heart.By the way, there is something else: the music, I mean I've read a lot of comments about this movie and I can't remember of any mentioning the music! I may be the only one but I really loved that deep powerful instrumental song.