Review: ‘Horizon,’ Costner’s western, is drab, overindulged tedium. Ready for 7 more hours of it?

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As a film enthusiast with a deep appreciation for the history of cinema, particularly westerns, I have to admit that I approached Kevin Costner’s new western epic “Horizon: An American Saga — Chapter 1” with great anticipation. The fact that Costner had staked his own fortune on this project was intriguing and added to my excitement. However, after sitting through the three-hour-plus film, I can’t help but feel disappointed and let down.

Kevin Costner’s latest western production, “Horizon: An American Saga — Chapter 1,” leaves people wondering how it came to be made. However, we have the answer: Costner, who served as producer, director, star, and co-writer, financed the film himself, putting his own resources on the line.

The “Dances With Wolves” Oscar winner, known for his four-part project titled “Horizon: An American Saga,” decided to leave behind the successful television series “Yellowstone” and used his own land as collateral for funding this Civil War-era story. His unwavering focus and determination, reminiscent of Old West pioneers, are commendable yet perhaps unrealistic in their depth. Similar to Francis Ford Coppola’s self-financed “Megalopolis,” which also premiered at the Cannes Film Festival alongside “Horizon,” this commitment to personal cinema is both inspiring and potentially misguided.

Instead of “But what unfolds on screen over the course of three hours and one minute in “Horizon: An American Saga — Chapter 1” can only be described as a massive boondoggle, a misguided and excruciatingly tedious cinematic experience. That Costner has promised three more installments feels like a threat,” you could say:

“This type of old-fashioned, melodramatic western with potentially problematic racial and sexual themes is no longer produced today.” Or, “The western genre has evolved beyond the broad, cheesy storytelling seen in ‘Horizon’.”

As a seasoned film critic with decades of experience under my belt, I must admit that there’s something about this project that instantly transports me back to the 1990s. But it’s not in a nostalgic or classic sense, no. Instead, it feels disconcertingly outdated and out-of-touch.

Collaborating with Jon Baird and Mark Kasdan on the script, we interconnect multiple storylines primarily based in 1863. The narrative’s climax reveals that each path ultimately converges towards Horizon, a notoriously cursed piece of land. Despite extensive marketing to pioneers, this area has been under the control of the Apache tribe for decades, leaving only grave markers as evidence of white settlers’ presence.

In the opening action scene, Apache warriors suddenly raid a dance event at Horizon tent city. This episode appears as if it was drawn from a conservative’s anxious nightmare, where firearms serve as the only protection against the nameless, indigenous enemy. Later in the story, Costner guides us into the Apache community, where an elder speaks caution to the young braves about the relentless arrival of settlers. Regrettably, we do encounter instances of white retaliation towards the Apaches as well. While we may hope for more complex portrayals of Native American culture in upcoming chapters, the current depictions come off as oversimplified and seemingly obligatory.

Sienna Miller in “Horizon: An American Saga — Chapter 1.”
(Warner Bros. Pictures)

After the attack, Mrs. Kittredge (Sienna Miller), a widow, and her daughter Lizzie (Georgia MacPhail) are escorted to the nearest military camp by soldiers from the Union. There, they unexpectedly develop feelings for their protectors, among them Trent Gephart (Sam Worthington).

In another place, the Sykes brothers, members of a Montana Territory family, are determined to take vengeance on Ellen (Jena Malone), the young woman who killed their father and eloped with their son. Ellen has found refuge in a small Wyoming Territory village with Marigold (Abbey Lee), an enterprising prostitute. However, Ellen’s past continues to haunt her. Marigold charms horse trader Hayes Ellison (Costner), but they are forced to flee after encountering one of the Sykes brothers (Jamie Campbell Bower). Meanwhile, a contentious wagon train, led by Matthew Van Weyden (Luke Wilson), is making its way to Horizon. The journey is fraught with challenges from the elements and a group of Native American hunters seeking rewards for turning in Native scalps.

The storylines are pieced together in a disorganized and inconsistent manner. There are unexpected shifts in time, with some scenes dragging on unnecessarily while others seem insignificant. Rather than delving deeply into one cohesive plotline, we’re left jumping between multiple stories without developing a strong connection or understanding of the characters beyond their superficial aspects.

In simpler terms, there are too many speaking parts in “Horizon” for a nuanced appreciation. Western archetypes are reduced to simplistic “good guy/bad guy” roles, making most characters seem overly caricatured, with the exception of Costner’s performance. The large acting displays contribute to an excessively dramatic tone that makes the movie appear ridiculous. Costner, with his calm demeanor, showcases his impressive screen presence amidst a regrettable assembly of stereotypes.

In a perfect world, “Horizon” would be the type of film where a studio could provide valuable input to counteract Kevin Costner’s less desirable decisions. Sadly, Costner assumes the role of director, producer, and editor for this labor of love of his.

Katie Walsh is a Tribune News Service film critic.

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2024-07-18 18:33