Hostiles (2017)

Turan praises “Hostiles” as an intense, compelling western with a forceful emotional pull. He singles out the performances, especially those of Christian Bale, Wes Studi and Rosamund Pike, as a major strength.

Pendreigh finds that Cooper gives fresh life to a familiar reconciliation narrative. He particularly praises the film’s treatment of mutual respect emerging between former enemies.

Turner praises the film as a searing, compelling Western with resonant themes, while noting that its progressive ideas are weakened by underdeveloped Native characters. He singles out Christian Bale’s performance and the controlled, inventive staging of the violence for praise.

The review calls the Western a spiky entry in the genre’s revival. It singles out Rosamund Pike’s performance as stellar.

Jolin finds the film a finely crafted, deeply bittersweet Western that confronts the era’s violence without flinching. He especially praises Christian Bale’s performance and the cinematography’s sweeping vistas.

McCarthy finds the film a sorrowful, absorbing, estimable Western, though its grim mood may limit its audience. He especially praises Christian Bale’s subtly developed lead performance and the filmmakers’ sensitive depiction of the changing landscape.

Macnab finds the Western striking but bleak, praising Christian Bale and Rosamund Pike’s performances and its rugged evocation of the Old West. He criticizes its predictable screenplay and traditional approach, while valuing its combination of action and soul-searching.

The page could not be accessed, so the critic's verdict is unavailable. No praised or criticized element could be verified.

The accessible page does not reveal the critic’s verdict. Its standfirst singles out the journey from New Mexico to Montana as the story’s focus.

The review text is unavailable, so its verdict cannot be determined. The page provides no readable details about what the critic praised or criticized.

The critic finds the film grim and politically vapid, with its larger story failing to develop its characters. He praises a moving farewell between two soldiers, while noting that the Cheyenne characters are underdeveloped.

Lodge finds the film aesthetically ravishing but relentlessly stern, and ultimately handsome yet lacking novelty. He praises its widescreen landscapes and committed performances, while criticizing its underdeveloped Native American characters and cultural bias.

Jenkins finds the film neither notably bad nor notably good, despite its earnest approach. He praises Bale’s committed performance while noting that it dominates the screen and leaves Pike comparatively little space.

Bradshaw finds the western flawed and somewhat glib, though its immediate dramatic effects are potent. He praises its beautifully composed widescreen images and persuasive response to the grandeur of the Old West.

Bowen sharply criticizes the film’s ponderous pace and self-conscious approach to Western revisionism. He particularly faults the underdeveloped relationship between Blocker and Yellow Hawk, while praising Wes Studi’s presence.

Debruge finds the film politically compromised and unconvincing in its attempt to redeem its white characters, despite its serious intentions. He praises its elegant widescreen imagery and Rosamund Pike’s performance, while faulting the Native characters’ thin development.

The review finds the film a formulaic Western whose grim tone and pacing cannot compensate for its lack of substance. It singles out the bare script for reducing the characters to pieces on a historical chessboard.

Yoshida finds the film well-intentioned but plodding, ultimately criticizing its failure to develop its Native characters. She singles out Rosamund Pike’s portrayal as a collection of trauma-related mannerisms rather than a convincing character.

The critic strongly praises the film as a hopeful, morally searching Western. They single out Christian Bale’s performance and the film’s glorious storytelling.

Hammond finds the film grim but powerful and relevant, with a persuasive message about racial understanding. He especially praises Christian Bale’s restrained, deeply human performance, which he says carries the film.

Serrano finds Rosamund Pike the film’s standout, delivering a deeply affecting performance. He especially praises how her expressive eyes convey Rosalie’s trauma and shifting emotions.

Shaffer finds the film uneven but full of compelling moments. He particularly praises Rosamund Pike’s performance as a source of empathy amid its cynicism and anguish.

Chitwood finds the film a memorable, visually striking Western, though its slow pacing and thematic disconnect keep it from fully succeeding. He especially praises the haunting beauty of the New Mexico cinematography.

Crow finds Hostiles visually exquisite and emotionally affecting, but says it buries its strengths in a repetitive, turgid eulogy for the Western. He praises Bale and Pike’s humane, affecting performances while criticizing the Native American supporting characters as clichés and ciphers.

The critic finds Hostiles uneven, with moments of real poignancy but an underdeveloped portrayal of the Native family. Rosamund Pike’s grief-stricken burial scene stands out as especially powerful.

The review is largely critical, arguing that the film’s pace and closed-off lead performance make it a slog. It praises Rosamund Pike for bringing grit and color to Rosalie.

Crump finds the film pompous, inert, and frustratingly timid in its treatment of race. He praises Wes Studi and other Native American performers, while criticizing the film for reducing their characters to catalysts for white characters’ growth.

The headline signals a negative verdict, suggesting the film is overstuffed and problematic. It says the performances of Christian Bale and Rosamund Pike cannot overcome those flaws.