--- title: "Let Him Go" year: 2020 kind: "film" canonical: "https://film.one/film/let-him-go" fi1m_id: "let-him-go" imdb_id: "tt9340860" tmdb_id: 596161 wikidata_id: "Q63434250" fi1m_score: 64 critics_score: 65 critics_reviews: 21 published: "2026-09-24T23:12:15.298170+00:00" updated: "2026-09-24T23:12:15.899748+00:00" region: "PE" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Let Him Go (2020) Directed by Thomas Bezucha · 1h 54m · Thriller, Crime, Western ## Identity Let Him Go - **Canonical:** https://film.one/film/let-him-go - **Type:** Film - **Fi1m ID:** let-him-go - **IMDb ID:** tt9340860 - **TMDB ID:** 596161 - **Wikidata ID:** Q63434250 - **Same entity:** https://www.imdb.com/title/tt9340860/, https://www.themoviedb.org/movie/596161, https://www.wikidata.org/wiki/Q63434250 **Fi1m score: 64** · Critics 65 from 21 reviews *In a sentence:* The gentlest road film about a retired sheriff until Lesley Manville passes the pork chops > Thomas Bezucha’s adaptation of Larry Watson’s novel is a tender, unhurried film about a long marriage for an hour, and a rather ordinary thriller afterwards. Lane and Costner make the first half worth the second, and Lesley Manville makes sure the second is never dull. ## Synopsis Montana, the early 1960s. George Blackledge (Kevin Costner), a retired sheriff, and his wife Margaret (Diane Lane) keep horses on a small ranch with their son James (Ryan Bruce), his wife Lorna (Kayli Carter) and the baby, Jimmy. James is thrown from a horse and killed. Three years on, Lorna marries Donnie Weboy (Will Brittain), and in town Margaret watches him hit both her and the boy. Soon after, Margaret drives over with a cake and finds their rented house empty: Donnie has taken his wife and stepson to his family in North Dakota without a word to anyone. Margaret packs the car. George, who has spent a career knowing how these journeys end, puts his gun in the glovebox and goes with her. ## Review Thomas Bezucha has adapted Larry Watson’s novel into a Western about a marriage. George Blackledge (Kevin Costner) is a retired sheriff, Margaret (Diane Lane) used to break horses, and when their daughter-in-law is carried off to North Dakota with their grandson, Margaret packs the car and George gets in beside her. For an hour this is a quiet, well-made film about two people who have been married long enough to argue without raising their voices. Then Lesley Manville arrives and it becomes a louder and more ordinary one. We preferred the first film, and we did not want to leave the second. Lane carries it. Margaret is not a saint; she is stubborn, quick to decide and slow to say what a decision has cost her, and Lane shows the cost anyway, in a set jaw and a hand that stays on a door handle a moment too long. The scene in which she drives across town with a cake and finds the rented house empty is played without music and almost without words, and it moved us more than any of the later, bloodier business managed. Costner gives George little to say and makes it count: he reads the map, pours the whisky, and lets his wife go first through every door because he knows he cannot stop her. The two were the Kents in *Man of Steel* (2013), and they still sound like people who share a bathroom. Guy Godfree shoots the drive wide and low, the Blackledges’ car a small dark thing under most of the sky, and keeps the camera at a polite distance until they reach the Weboys, where it moves in close and the light goes brown. Trevor Smith’s Weboy house is dark wood and low ceilings, a long table lit as if for an interrogation. Carol Case keeps Margaret in a good coat and gloves for the whole trip, dressed for church in a place that has no use for one. Michael Giacchino’s score is spare piano and strings for the first hour and is at its best when it stays out of the way. Jeffrey Ford and Meg Reticker let the early scenes run long, and the film is better for the patience. Manville’s Blanche Weboy, when she comes, is a proper creation: dyed hair, a cigarette, pork chops passed round the table with the warmth of a woman counting the exits. She talks about family the way other people talk about property, and her voice rises a note every time she is contradicted. Jeffrey Donovan is good as Bill Weboy, the grinning uncle who meets the Blackledges on the road and offers to show them the way, which is the moment we knew where the evening was heading and started to feel unwell about it. That dinner is the film’s best sustained sequence. Nothing happens in it, and we did not breathe properly through any of it. What follows is where the film loses us. The second half takes a turn we will not describe, but its effect is to swap a story about grief and pride for a story about who is holding the gun. Bezucha stages the violence competently and without much imagination; the last twenty minutes could have come from a dozen other thrillers, and the score, so careful until then, starts telling us how to feel. Booboo Stewart’s Peter Dragswolf, a young man living alone on the plains who lets the couple stay, is given a history in one speech and then used mostly to drive. Kayli Carter’s Lorna, whose son this is, barely gets a sentence of her own in a film about what should happen to her child. Bezucha is best known for *The Family Stone* (2005), a Christmas comedy, and it shows in the good sense: he likes his people and gives them time. The genre asks for something harder than good sense at the finish, and he supplies it dutifully rather than well. Set against the neo-Westerns it resembles, this is the gentler cousin, with better manners and less nerve. See it for Lane, for Manville, and for a marriage that feels lived in rather than written. It runs 114 minutes and carries a 15, and the 15 is earned late, all at once, after a long stretch in which the only thing at risk was a cake. *Fi1m score 64, published 24 September 2026.* ## What the critics say Most critics lean warm on Let Him Go, though not by a wide margin. Praise clusters almost entirely on the acting: Diane Lane is repeatedly named as the film’s anchor, her scenes with Kevin Costner valued for a quiet, largely wordless ease, and Lesley Manville’s turn as the Weboy matriarch is singled out by several as the performance that stays with them. The film is generally taken as an old-fashioned, patient thriller for older audiences, tense and well made. The reservations gather around the third act. Many find the shift from restrained family drama into violent pulp abrupt, arriving too late or landing as implausible, and some think the sentiment thin and the supporting characters flat. The spread is wide: The Hollywood Reporter and Empire find the tonal lurch unconvincing enough to sink the film, and Slant Magazine dismisses it as hammy melodrama, while Variety and Vulture take the same swerve as the point, a thriller that becomes a story about sacrifice. ## Straight answers **Is Let Him Go worth watching?** *Let Him Go* is worth watching for Diane Lane, Kevin Costner and Lesley Manville, and we scored it 64. The first hour is a quiet, well-made film about a long marriage; the second half becomes an ordinary thriller about who is holding the gun. See it for the performances rather than the plot. **How long is Let Him Go, and what is it rated?** *Let Him Go* runs 1h 54m. It is a thriller and crime film. **Where can I watch Let Him Go in Peru?** *Let Him Go* is not on any streaming or rental service in Peru at the moment. It is available in 54 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Let Him Go, and is it suitable for children?** *Let Him Go* carries a 15 in the UK and an R in the US, and the violence arrives late, all at once, after a long stretch in which very little is at risk. An early scene shows a man hitting his wife and a small boy. It is not for children, and the squeamish should know the last twenty minutes are bloody. **How does Let Him Go compare to Winter's Bone?** *Let Him Go* and [*Winter's Bone*](https://film.one/film/winters-bone) both send a quiet, stubborn person into a dangerous family for an answer, but *Winter's Bone* is the tenser and more consistent film. Debra Granik keeps her nerve to the end, where Thomas Bezucha turns to routine gunplay. Choose *Winter's Bone* for sustained dread; choose *Let Him Go* for a marriage worth watching and Lesley Manville. **Is Let Him Go based on a true story or a book?** *Let Him Go* is adapted from Larry Watson's novel of the same name, not from a true story. Thomas Bezucha's version keeps the setting of Montana and North Dakota in the early 1960s and the story of a retired sheriff and his wife going after their grandson. You do not need to have read the book to follow it. **What should I watch after Let Him Go?** After *Let Him Go*, try [*Winter's Bone*](https://film.one/film/winters-bone) (2010, Fi1m 85): Another quiet person walks into a dangerous family and refuses to leave without an answer. Then [*Animal Kingdom*](https://film.one/film/animal-kingdom) (2010, Fi1m 84): Jacki Weaver’s Melbourne matriarch is Blanche Weboy with better tea and worse sons; and [*Hell or High Water*](https://film.one/film/hell-or-high-water) (2016, Fi1m 84): A modern Western that keeps its violence short and its conversations long. ### Reviews we read (21) - **Variety**, Owen Gleiberman (85/100, inferred): Gleiberman finds the film an original, gripping thriller that turns into a touching story of romance and sacrifice. He especially praises Lane and Costner’s performances and the suspenseful, emotionally honest treatment of heroism. [Read](https://variety.com/2020/film/reviews/let-him-go-review-kevin-costner-diane-lane-1234817443/) - **Vulture**, Bilge Ebiri (82/100, inferred): Ebiri finds the film a surprisingly affecting, patient Western romance that stays with the viewer. He especially praises Lesley Manville’s magnetic, larger-than-life performance as the Weboy family matriarch. [Read](https://www.vulture.com/article/movie-review-let-him-go-with-kevin-costner-and-diane-lane.html) - **Radio Times**, Josh Winning (4/5): Winning praises the film as an arresting western and welcomes the reunion of Diane Lane and Kevin Costner. He singles out their pairing as a particular joy. [Read](https://www.radiotimes.com/movie-guide/b-l3f7uu/let-him-go/) - **The Guardian**, Benjamin Lee (4/5): Lee finds the shift from a restrained neo-western to a violent B-movie entertaining, though the mayhem arrives too late. He especially praises Lesley Manville’s electric, fierce performance as the villainous Blanche. [Read](https://www.theguardian.com/film/2020/nov/05/let-him-go-review-kevin-costner-diane-lane-lesley-manville) - **RogerEbert.com**, Brian Tallerico (3/4): The review regards the film as a solid, old-fashioned thriller. It singles out the performances of Diane Lane and Kevin Costner. [Read](https://www.rogerebert.com/reviews/let-him-go-movie-review) - **The i Paper**, Francesca Steele (75/100, inferred): The review finds the film tender and tense, with restrained momentum before a bombastic third act. It particularly praises the easy familiarity and exchanges between Diane Lane and Kevin Costner. [Read](https://inews.co.uk/culture/film/let-him-go-review-diane-lane-kevin-costner-799345) - **The AV Club**, Jesse Hassenger (B-): Hassenger finds the film a skillfully made, affecting mix of restrained family melodrama and pulp, though its sentiment can feel flavorless. He praises Diane Lane for making the separation scene genuinely moving. [Read](https://www.avclub.com/kevin-costner-and-diane-lane-embark-on-a-western-ish-mi-1845533569) - **Los Angeles Times**, Katie Walsh (65/100, inferred): Walsh finds the film an engaging but somewhat ephemeral melodrama, with a hopeful undercurrent. She particularly praises Diane Lane’s performance, which she says is the element that lingers. [Read](https://www.latimes.com/entertainment-arts/movies/story/2020-11-04/review-let-him-go-diane-lane-kevin-costner) - **Sight and Sound**, BFI (65/100, inferred): The review finds the melodrama familiar but tense and atmospheric, ultimately holding the attention. It praises the windswept landscape and effective tension, while criticizing the one-dimensional supporting characters. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/let-him-go-thomas-bezucha-battling-matriarch-melodrama-diane-lane-lesley-manville) - **The New Yorker**, Anthony Lane (65/100, inferred): Lane finds the film low-key and cleanly told, with Diane Lane’s performance providing its strongest force. He also praises Lesley Manville’s imposing turn, though he argues the finale gives the decisive moment to the wrong character. [Read](https://www.newyorker.com/magazine/2020/11/09/matriarchs-of-steel-in-let-him-go) - **Screen Daily**, Fionnuala Halligan (64/100, inferred): The review presents the film as a twilight-years Western aimed at older audiences. The review text is paywalled, so its verdict and specific praise or complaint are unavailable. [Read](https://www.screendaily.com/reviews/let-him-go-review/5154245.article) - **Little White Lies**, Leslie Byron Pitt (4/3/3): The critic finds it an entertaining, traditionally told slow-burn western elevated by an invested cast. They single out Diane Lane’s performance and the dignity the film gives its mature protagonists. [Read](https://lwlies.com/reviews/let-him-go) - **IndieWire**, David Ehrlich (C): Ehrlich finds the film an uneven, slackly paced attempt to blend a revenge thriller with a mythic Western. He praises Lesley Manville’s performance and the perspective offered by the young Native American character. [Read](https://www.indiewire.com/criticism/movies/let-him-go-review-1234596146/) - **Empire**, Ian Freer (30/100, inferred): Freer finds the film slow and tonally uneven, with an unconvincing shift into violent thriller territory. He singles out Lesley Manville’s performance as a memorable, energetic crime boss. [Read](https://www.empireonline.com/movies/reviews/let-him-go/) - **The Hollywood Reporter**, John DeFore (30/100, inferred): The critic finds the film heartfelt and handsomely made but ultimately unconvincing, as it shifts from grounded family drama into implausible genre territory. He praises Diane Lane and Kevin Costner’s involving performances and the couple’s quietly conveyed bond. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/let-him-go-film-review-4086825/) - **Slant Magazine**, Dan Rubins (1/4): Rubins finds the film a hammy melodrama that loses emotional and character depth as it escalates. He praises Diane Lane’s searing performance, especially in the film’s quieter moments. [Read](https://www.slantmagazine.com/film/review-let-him-go-is-a-hammy-melodrama-thats-parched-for-backstory/) - **Collider**, Jeff Sneider (B+): Sneider calls it a well-crafted, emotionally sensitive thriller, though its leisurely pace and missing perspective from Lorna weaken its impact. He especially praises Kevin Costner’s restrained performance and the quiet, convincing rapport between the leads. [Read](https://collider.com/let-him-go-review-kevin-costner-diane-lane/) - **The Wrap** (80/100, inferred): The critic finds the film a tense, skillfully balanced genre piece. They praise Lane and Costner’s performances and their expressive, largely wordless rapport. [Read](https://www.thewrap.com/let-him-go-film-review-diane-lane-kevin-costner/) - **Film Stories**, Simon Brew (75/100, inferred): The critic finds the film absorbing and unusually refreshing, with a conventional final act that slightly disappoints. Diane Lane’s performance is singled out as the film’s anchor. [Read](https://filmstories.co.uk/reviews/let-him-go-review-diane-lane-and-kevin-costner-hit-the-big-screen/) - **/Film**, Evan Saathoff (7/10): The critic finds the film modest but entertaining, with enough charm to make it worth seeing on the big screen. Diane Lane’s forceful performance and Kevin Costner’s gruff screen presence are singled out as pleasures, though the story gives Lorna too little perspective. [Read](https://www.slashfilm.com/577561/let-him-go-review/) - **The Playlist** (64/100, inferred): The URL identifies this as a review of the specified film, but the page provides no access to the critic’s verdict. No praise or complaint can be established from the available content. [Read](https://theplaylist.net/let-him-go-review-kevin-costner-diane-lane-20201105/) ## Details - **Director:** Thomas Bezucha - **Director:** Thomas Bezucha - **Writer:** Thomas Bezucha - **Novel:** Larry Watson - **Cinematography:** Guy Godfree - **Editor:** Jeffrey Ford, Meg Reticker - **Music:** Michael Giacchino - **Production design:** Trevor Smith - **Costume design:** Carol Case - **Producer:** Thomas Bezucha, Paula Mazur, Mitchell Kaplan - **Cast:** Diane Lane as Margaret Blackledge; Kevin Costner as George Blackledge; Kayli Carter as Lorna Blackledge; Lesley Manville as Blanche Weboy; Will Brittain as Donnie Weboy; Jeffrey Donovan as Bill Weboy; Booboo Stewart as Peter Dragswolf; Ryan Bruce as James Blackledge - **Runtime:** 1h 54m - **First release (South Korea):** 5 November 2020 - **Genres:** Thriller, Crime, Western - **Budget:** $21 million - **Box office:** $8 million - **Trailer:** https://www.youtube.com/watch?v=bE8pwEF-3TI ## Where to watch in Peru Not streaming, renting or buying in Peru at the last check. Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *Winter's Bone* (2010), Fi1m 85: Another quiet person walks into a dangerous family and refuses to leave without an answer — [Fi1m page](https://film.one/film/winters-bone.md) - *Animal Kingdom* (2010), Fi1m 84: Jacki Weaver’s Melbourne matriarch is Blanche Weboy with better tea and worse sons — [Fi1m page](https://film.one/film/animal-kingdom.md) - *Hell or High Water* (2016), Fi1m 84: A modern Western that keeps its violence short and its conversations long — [Fi1m page](https://film.one/film/hell-or-high-water.md) - *The Homesman* (2014), Fi1m 72: Hilary Swank crosses the plains with a reluctant man and the land does the talking — [Fi1m page](https://film.one/film/the-homesman.md) - *Blue Ruin* (2013), Fi1m 84: What a revenge thriller looks like when the amateur has thought it through — [Fi1m page](https://film.one/film/blue-ruin.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/let-him-go