Watch: Slow West 2015 123movies, Full Movie Online – ‘Slow West’ follows a 16-year-old boy on a journey across 19th Century frontier America in search of the woman he loves, while accompanied by mysterious traveler Silas..
Plot: In the Old West, a 17-year-old Scottish boy teams up with a mysterious gunman to find the woman with whom he is infatuated.
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|6.9/10 Votes: 46,039|
|92% | RottenTomatoes|
|72/100 | MetaCritic|
|N/A Votes: 862 Popularity: 10.758 | TMDB|
> Going across the Atlantic to find the lost love.
A western movie set in the 1870 United States, but entirely shot in the New Zealand. The story of a 16 year old boy, Jay, from Scotland embarks a journey in the New World in search of his love, Rose. Later a bounty hunter joins him and makes sure his safe travel. Technically, it was a road movie, but reveals the plot from the other angles as well in the spare times like during camping at the nights.
The narration was too slow and the story was ordinary, but it was enough for me to get engaged. If you wait until the final scene, especially till you figure out the puzzle of the romance theme, you may like it better. The end was so good, just like what a western movie fan looking for, a gunfight. Interestingly, that was not to be heroic, except all the earlier disasters pushed for the finale and the post finale. It is rated R, because it is so brutal in some way and for being faithful to the genre.
It might not be a dream debut for the director like the big cast, the high budget and a great commercial success, but giving a satisfying movie in a simple way was his accomplishment in his first attempt. Kodi Smith-McPhee is almost 20 and he’s yet to play his independent and powerful enough character that will bring acknowledgement. It was a close one, the narration started like it was his, and he was everywhere in the movie. Then going further, especially when it nears the end, he was kind of fading. But he was awesome, along with Michael Fassbender. Not a must see, as well as not refusable if you get a chance to see it.
One’s a falling angel – the other one’s a rising devil.
Slow West is written and directed by John Maclean. It stars Kodi Smit-McPhee, Michael Fassbender, Ben Mendelsohn, Caren Pistorius and Rory McCann. Music is by Jed Kurzel and cinematography by Robbie Ryan.
It’s the late 1800s and a teenage Scottish aristocrat travels to the American West to track down the girl he loves with all his heart…
There has been a number of modern day directors who have not only refused to let the Western genre die, but also to not be afraid to take it to a harshness of the West level. They have chosen to strip it back to a sense of realism, with no frills and bunting, just a show of tough times populated by tough people and people tough out of luck. Slow West is one such Oater.
For his first full length feature, John Maclean has chosen to make a genre of film he clearly knows something about. It’s got some familiar tropes – greenhorn, grizzled bounty hunter, deadly gang et al, but Maclean has still made a fresh picture, one that not only intrigues and excites, but also humours by way of some black comedy inserts.
Essentially it’s a travelogue piece, McPhee’s lovelorn Jay Cavendish ends up being escorted on his journey by Fassbender’s mysterious tough guy Silas Selleck. It’s an odd yet engaging pairing, and as they are pursued by Selleck’s old gang, and they come across a number of eccentric or devious characters, you may find yourself hoping that all the hidden agendas – the secrets bubbling away in the background – do not shatter the surrogate relationship neither was looking for.
His heart was in the wrong place.
Ah, but yes! Maclean shows gumption to go all mud and blood on our butts, building everything to a quite terrific final quarter of film that has rode in on a black stallion straight from noirville. No printing the legend here, it’s a bitter commentary on the romanticised view of the Old West. Western fans keen of ear will pick up on some historically spiky dialogue exchanges, whilst also noting the nods towards the immigration angles, where Maclean doesn’t pull punches as to how desperate the Old West was for many of those who travelled hoping for a better life.
Predominantly filmed in New Zealand (superbly standing in for the American West), the panoramic cinematography is stunning, while it’s great to see the backdrops are not just mountainous desert scapes, this journey goes through forestry as well. Cast are on prime form, Fassbender seems to be a given these days and it’s hoped he will do a Western again, and McPhee plays off of him with genuine conviction. Then there’s Mendelsohn, who has to be one of the finest Australian character actors working today, he’s perfectly cast here, so his fans know exactly what they will be getting.
The poster art is hugely frustrating, showing Caren Pistorius with a big beaming smile on her face, that is very much a bum steer. You would be wise to take more note of the faces of Messrs McPhee, Fassbender and Mendelsohn on that poster, for their facial portraits are more in keeping with this cracker-jack Western. 9/10
Slow pace builds to an energetic ending
Slow West tells the story of Jay Cavendish (Kodi Smit-McPhee), a naive and courageous kid who embarks on a dangerous journey to the West, determined to find his love, a beautiful young woman, Rose (Caren Pistorius). He meets and accepts the guidance of Silas (Michael Fassbender), a laid-back gunslinger versed in the ways of the West.
Jay, an idealist and a neophyte to the perils of the wilderness, illustrates a touching contrast between his educated, delicate nature and the wickedness around him.
The director (John Maclean) controls and carefully addresses all his characters, adds purpose and exquisite emotion, portraying the fragile yet ambitious Jay in a story set with a glance of surrealism.
It is not a typical action-packed western, but it is a treat with its stunning cinematography, framing intimate and colorful scenes, both subtle and vivid comical situations and characters, a well-paced feel-good experience.
The narrative of John Maclean’s first film Slow West never entirely convinces
While stylistically unique in imagery and tone, the latter wavering between gritty and darkly comic, the narrative of John Maclean’s first film Slow West never entirely convinces. It is possibly due to the minor running time of barely eighty minutes long. Set in America in 1870, the film is about sixteen year old Scottish lad Jay Cavendish (Kodi Smit-McPhee), a well educated, multilingual and determined fellow who’s out of his depth in the violence of the West. While Indians are being slaughtered by Americans and their camps are being burnt to the ground, Jay searches for Rose (Caren Pistorious), the girl he loves. Rose and her father escaped Scotland after an accident involving Jay. After walking through the woods and being held at gunpoint, Jay is rescued by Silas (Michael Fassbender), an outlaw who shoots a soldier dead while still holding a cigar in the corner of his mouth. For a fee he escorts Jay across the countryside to find Rose and is surprised by the boy’s optimism. His voice-over states: “To him we were in a land of hope and good will. The way I saw it, kick over any rock and a desperado will knife you in the heart.” Their contrast in attitudes to the West reflects their life experience. Meanwhile, Silas’ former gang, led by Payne (Ben Mendelsohn), continues to stalk them.
After making a short film with Maclean, Michael Fassbender opted to star and produce this debut film to guarantee its financing and exposure. There are however noticeable problems with the context of Maclean’s script. An early twist in the piece is that Silas is using Jay to lead himself to Rose. There’s a bounty on the head of herself and her father that Jay doesn’t know about. The twist builds dramatic irony because we wonder if Jay will discover Silas’ intentions. But it’s contrived and implausible the West somehow knows about people all the way from Scotland, including having them on a wanted posted, and that Rose would be wanted dead or alive for something that wasn’t her fault. Similarly, how Silas came to discover Jay’s whereabouts is sketchy, hastily explained through the voice-over which says he’s been tracking him. The weak exposition and geography of the characters continues into the bloody finale. Rose is living with her father and an Indian in a cabin in an open field, which isn’t secluded for people in hiding. She is also more world-weary and skeptical of people than her father and a crackshot with a rifle. Even though this is a movie about adaptation, the story shapes Rose not through progression but as it pleases. Additionally, the brief flashbacks to Scotland show how Rose and Jay are from different classes of family, and how she only sees him as a brother, which is another good twist, but the brevity of these scenes suggests this was a longer film cut right down to size.
Some will argue Slow West isn’t a film to be judged on authenticity or realism. It was filmed in New Zealand, which proves an attractive substitute for a typical Western location. The woodlands here, photographed through wide and long shots, characterise the narrative as a fairytale where a young man finds himself in the physical danger and metaphor of the forest. The film is aiming to become a semi-comic, tragic love story and a Darwinian examination of those adapting to the West. Jay meets a writer in a travelling caravan who tells him it’s a new world for them and the Indians. Like the Indians who die, some will not survive the brutality of the West where money and personal ambition leads to uncontrollable violence. But adding surrealism is an obtuse stylistic goal, only for art-house posturing. There are strange unexpected shots in the film like a low angle to the sky where Jay aims his gun and makes the stars appear and weird episodes like Jay’s encounter with the travelling writer. Also bizarre is a dream sequence with Rose and a baby, where I wasn’t entirely sure if the dream belonged to Jay or Silas or both men collectively. While you appreciate the originality, it feels showy or lacking in purpose and meaning.
The two lead performances aren’t hugely stretched by the minimalist dialogue and characterisation but work best in close-up shots. Smit-McPhee is a good young actor and while it’s not a role that shows a huge spectrum of emotion, it’s in the tighter shots like when he is being interrogated by Payne that he shows nervous energy in the character. Michael Fassbender is a solid presence whose best technique here is acting without dialogue, using his eyes, but there aren’t that many close-ups in the film to give him the opportunity. His character changes, unlike Jay who doesn’t have an arc but persists with his goal. Even a desperate immigrant he kills in a strong early scene is superfluous to the emotion or the interior of his character. The climax of the film robs him of learning anything or reaching a point of understanding about the West. The ending is also implausible and convenient, adjoining two characters who barely know each other. Could it be another dream? Maybe it’s a case of the film being too brief because while it touches on immigrants, adaptation and change, it doesn’t always seem credible.
Original Language en
Runtime 1 hr 24 min (84 min)
Genre Action, Adventure, Drama
Director John Maclean
Writer John Maclean
Actors Kodi Smit-McPhee, Caren Pistorius, Aorere Paki
Country United Kingdom, New Zealand
Awards 7 wins & 20 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 1.66 : 1
Camera Arri Alexa, Panavision PVintage, Ultra Speed Z and Frazier Lenses
Film Length N/A
Negative Format SxS Pro
Cinematographic Process Digital Intermediate (2K) (master format), ProRes 4:4:4 (1080p/23.976fps), Spherical (source format)
Printed Film Format DCP