Silverado (Lawrence Kasdan, 2015) Kevin Kline, Kevin Costner, Rosanna Arquette, John Cleese, Brian Dennehy, Danny Glover, Jeff Goldblum ...
The cast list just goes on and on. One of the stars of this is the Cook Ranch, where the fictional town was built – and used for other westerns.
God wot why Cleese is in this. His presence brings the absurd to undermine whatever serious intentions the filmmakers might otherwise have had.
Wikipedia gives this summary of critical response:
Critic Janet Maslin, writing in The New York Times, said of director Kasdan, "he creates the film's most satisfying moments by communicating his own sheer enjoyment in revitalizing scenes and images that are so well-loved." Impressed, she exclaimed, "Silverado is a sweeping, glorious-looking western that's at least a full generation removed from the classic films it brings to mind." Roger Ebert in the Chicago Sun-Times called it "sophisticated" while remarking, "This is a story, you will agree, that has been told before. What distinguishes Kasdan's telling of it is the style and energy he brings to the project." In the San Francisco Chronicle, Peter Stack wrote that the film "delivers elaborate gun-fighting scenes, legions of galloping horses, stampeding cattle, a box canyon, covered wagons, tons of creaking leather and even a High Noonish duel." He openly mused, "How it manages to run the gamut of cowboy movie elements without getting smart-alecky is intriguing." In a mixed review, Gene Siskel of the Chicago Tribune, said the film was "a completely successful physical attempt at reviving the western, but its script would need a complete rewrite for it to become more than just a small step in a full-scale western revival." Another ambivalent review came from Jay Carr of The Boston Globe. He noted that Silverado "plays like a big-budget regurgitation of old Westerns. What keeps it going is the generosity that flows between Kasdan and his actors. It's got benevolent energies, but not the more primal kind needed to renew the standard Western images and archetypes." In an entirely negative critique, film critic Jay Scott of The Globe and Mail said the all too familiar "manipulative Star Wars-style score is the only novelty on tap in Silverado, which has a plot too drearily complicated and arid to summarize". Left equally unimpressed was Dave Kehr of the Chicago Reader. Commenting on director Kasdan's style, he said his "considerable skills as a plot carpenter seem to desert him as soon as the story moves to the town of the title." As far as the supporting cast was concerned, he dryly noted, "none of them assumes enough authority to carry the moral and dramatic center of the film." Giving Silverado 4 out of 5 stars, author Ian Freer of Empire, thought the film was the "kind of picture that makes you want to play cowboys the moment it is over." He exclaimed, "Whereas many of the westerns from the ‘70s try a revisionist take on the genre, Silverado offers a wholehearted embracing of western traditions." The staff at Variety reserved praise for the film stating that the real rewards of the picture lie in its "visuals" saying, "rarely has the West appeared so alive, yet unlike what one carries in his mind's eye. Ida Random's production design is thoroughly convincing in detail." Julie Salamon writing for The Wall Street Journal, voiced positive sentiment joyfully exclaiming that Silverado "looks great and moves fast. Mr. Kasdan has packed his action well against the fearsomely long, dusty stretches of Western plain." Describing some pitfalls, David Sterritt of The Christian Science Monitor said, "When pure storytelling takes over after an hour or so, the picture becomes less original and engaging." Sterritt however was quick to admit, "The cinematography by John Bailey is stunning," but he frustratingly noted that "Like the last movie Lawrence Kasdan gave us, The Big Chill, it's best when the carefully chosen cast throws itself into developing characters and building their relationships." Injecting some positive opinion, the staff at Total Film viewed Silverado as a creation of the "Kasdan brothers' ebullient love letter to the horse operas of their youth", while throwing in "every Western cliché imaginable. It's not as rousing as it thinks, despite the efforts of Bruce Broughton's strident score, but looks terrific - all big skies and wide-open spaces." "For all its mosaic of nice details, Silverado is still a faintly hollow creation-constructed, not torn from the heart."—Sheila Benson, writing for the Los Angeles Times.
Richard Corliss of Time didn't find the picture to be compelling, stating how the film "sprays the buckshot of its four or five story lines across the screen with the abandon of a drunken galoot aiming at a barn door. Though the film interrupts its chases and shootouts to let some fine actors stare meaningfully or spit out a little sagebrush wisdom, it rarely allows them to build the camaraderie that an old cowhand like Gabby Hayes exuded with no sweat." He ultimately came to the conclusion that Silverado "proves it takes more than love of the western to make a good one. Maybe the dudes at K-Tell were a mite too slick for the job." Similarly, the staff at TV Guide described how "Lawrence Kasdan bloats the plot with dozens of side stories that, in painfully predictable detail, show how each of our heroes has a reason for being in Silverado and why they decide to stick their necks out. Though much of the running time is devoted to these expository passages, it's all very basic and shallow."
Garry Gillard | reviews | New: 29 October, 2023 | Now: 29 October, 2023