--- title: "The Weight" year: 2026 kind: "film" canonical: "https://film.one/film/the-weight" fi1m_id: "the-weight" imdb_id: "tt10794054" tmdb_id: 1433583 wikidata_id: "Q135906914" fi1m_score: 66 critics_score: 68 critics_reviews: 15 published: "2026-09-20" updated: "2026-09-30T06:03:19.834391+00:00" region: "US" 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." --- # The Weight (2026) Directed by Padraic McKinley · 1h 52m · MPA R · Drama, Thriller, Crime ## Identity The Weight - **Canonical:** https://film.one/film/the-weight - **Type:** Film - **Fi1m ID:** the-weight - **IMDb ID:** tt10794054 - **TMDB ID:** 1433583 - **Wikidata ID:** Q135906914 - **Same entity:** https://www.imdb.com/title/tt10794054/, https://www.themoviedb.org/movie/1433583, https://www.wikidata.org/wiki/Q135906914 **Fi1m score: 66** · Critics 68 from 15 reviews *In a sentence:* Ethan Hawke hauls the gold, the plot and every line the other men were not given > Padraic McKinley’s debut is a plain, wet, old-fashioned adventure about men carrying gold through a forest, and Ethan Hawke, saying almost nothing, holds it together. The script gives him too little company, and the ending gives him too easy a road. ## Synopsis Oregon in the 1930s, with the Depression on. Samuel Murphy (Ethan Hawke) is a prisoner and a father, with no lawful way home. Warden Clancy (Russell Crowe) runs the prison and has a proposition: a load of stolen gold bars needs carrying through the forest to where he wants it, and men the world has already written off are the men to carry it. Murphy agrees for the sake of what is promised at the other end. Among those sent with him are Rankin (Austin Amelio), Singh (Avi Nash) and Olson (Lucas Lynggaard Tønnesen), and nobody in the party has much reason to trust anyone else. The gold is heavy, the country is wet and steep, and the first river they come to is only the first. ## Review Padraic McKinley’s first film as director sends a party of prisoners into the Oregon woods in the 1930s with stolen gold on their backs, and it does not pretend to be anything cleverer than that. It is a survival picture of the kind American studios made in the 1970s and then largely stopped making: men, weather, weight, and a long way to go. For most of its 112 minutes it is decent, honest work, and for two or three sequences it is a good deal more. What it lacks is people other than Ethan Hawke, and, at the last, the nerve to follow its own logic. Hawke plays Samuel Murphy as a man who has given up on talking. He walks, he lifts, he watches, and when he does speak it is usually to say the thing that needs doing next. It is a performance built from the shoulders down, and the film has the sense to let him carry it; there are long stretches in which nobody says a word and we knew exactly what Murphy was thinking. Russell Crowe’s Warden Clancy is the opposite proposition, heavy, genial and pleased with himself, a man who has worked out how to make a prison pay. Crowe is good value in every scene he is given, and he is not given enough of them. The craft is the film’s strongest suit. Matteo Cocco shoots the forest in flat grey daylight with the colour drained out of it, so that the gold, when it appears, is the only warm thing in the frame, and he keeps the camera low and close when the men are climbing, so we feel the gradient in our own legs. Cora Pratz’s production design is mud, tarpaulin and split timber, and Esther Walz dresses the prisoners in wool that gets visibly heavier as it soaks. The score by Shelby Gaines and Latham Gaines is mostly low strings and percussion that sounds like tools being struck, and in the set pieces it does a good deal of the work the script has not. The rope bridge is the sequence we will remember. A crossing that should take a minute takes far longer, the gold is the problem, and McKinley holds on the ropes rather than the faces, so that we found ourselves leaning forward with our jaws set, willing a knot to hold. It is done with rope, water and men, with no computer evident anywhere, and it is the best staging in the film. There is a river later that comes close. The film is at its best when it stops talking and gives its people something to lift. The trouble is what happens between the lifting. Matthew Booi and Shelby Gaines’s screenplay gives the other prisoners one trait apiece and leaves them there; Rankin (Austin Amelio), Singh (Avi Nash), Olson (Lucas Lynggaard Tønnesen) and Amis (Sam Hazeldine) are distinguishable mostly by hat. They talk at night around fires, and the talk is the kind you have heard in every film of this type, about what a man would do with his share. Julia Jones, as Anna, gets a handful of scenes and makes more of them than they deserve. Somewhere past the hour, between two set pieces, we were bored, and it was the particular boredom of knowing which man would fail next and roughly when. McKinley cut the film himself, with Matthew Woolley, and it shows in both directions. The set pieces are edited with patience; the walking between them is edited with too much, so the middle third of the journey feels longer than the miles could justify. And the last ten minutes take the kinder road when everything before them has argued for the harder one. We will not say how. We will say we left feeling let off rather than released. William Friedkin’s *Sorcerer* (1977) and John Boorman’s [*Deliverance*](https://film.one/film/deliverance) (1972) are the films most critics have reached for, and the comparison is fair on the wilderness and unfair on the people. Both of those films knew who was in the boat. *The Weight* knows Murphy. The others are cargo. It carries a 15 certificate. See it on a large screen if you can, because the forest and the score are most of the point, and take someone who does not mind quiet. Then argue on the way home about whether the ending spoiled it. We think it nearly did. *Fi1m score 66, published 20 September 2026.* ## What the critics say Most critics come away warm on The Weight, Padraic McKinley’s debut about prisoners hauling gold through the Oregon wilderness in the Depression. The praise gathers almost entirely around Ethan Hawke, whose stoic, near-wordless lead performance is singled out in nearly every review as the thing holding the film together. Beyond him, the reviews like the film’s 1970s throwback feel, the grubby, lived-in period detail and a handful of practical set pieces, the rope bridge crossing chief among them. The reservations are about pace and script. Several critics find the middle stretches slack and the plotting too straightforward, with few surprises and thin supporting characters. The spread is wide: the film’s harshest notices, from The Hollywood Reporter and IndieWire, call it murky and underpowered, while later reviews from RogerEbert.com and The AV Club are among its most enthusiastic. The Los Angeles Times, otherwise admiring, wishes it had been braver in its final minutes. ## Straight answers **Is The Weight worth watching?** *The Weight* is worth watching if you want a plain, wet, old-fashioned survival picture built on Ethan Hawke, and we scored it 66. The rope bridge and the river are staged with rope, water and men, and they are the reason to go; the other prisoners are thin, the middle third drags, and the ending takes the easy road. **How long is The Weight, and what is it rated?** *The Weight* runs 1h 52m and is rated R by the MPA in the US. It is a drama and thriller film. **Where can I watch The Weight in the US?** *The Weight* is not on any streaming or rental service in the US at the moment. Availability is checked daily. **How violent or frightening is The Weight, and is it suitable for children?** *The Weight* carries a UK 15 certificate, so it is not for children, and older teenagers who can take a hard, quiet crime thriller will be fine. The danger comes from weight, water and steep country rather than gore, and the tensest stretch is a rope bridge crossing where we sat with our jaws set willing a knot to hold. **How does The Weight compare to The Wages of Fear?** *The Weight* and [*The Wages of Fear*](https://film.one/film/the-wages-of-fear) are both about carrying something that might kill you through hostile country, and Clouzot's film is the better of the two. It knows every man in its lorries, where *The Weight* knows only Murphy and treats the rest as cargo. Choose McKinley's film for the forest and the set pieces; choose Clouzot's for the people. **What should I watch after The Weight?** After *The Weight*, try [*The Wages of Fear*](https://film.one/film/the-wages-of-fear) (1953, Fi1m 90): Clouzot’s lorries full of nitroglycerine; the original film about carrying something that might kill you. Then [*Sorcerer*](https://film.one/film/sorcerer) (1977, Fi1m 88): Friedkin’s remake, with the rope bridge this film plainly remembers, and far crueller weather; and [*Deliverance*](https://film.one/film/deliverance) (1972, Fi1m 85): Four men, one river, and a forest that has no interest in whether they survive it. ### Reviews we read (15) - **RogerEbert.com**, Matt Zoller Seitz (90/100, inferred): The critic calls the film successful in every department as a prison movie, wilderness adventure, psychological thriller, and political fable about capital and labor. Hawke's performance is singled out as one of his best, anchoring the drama with minimalism and gravitas. [Read](https://www.rogerebert.com/reviews/the-weight-ethan-hawke-russell-crowe-movie-review-2026) - **Screen Daily** (90/100, inferred): Padraic McKinley’s confident debut is a hugely effective survivalist tale set in 1930s Oregon wilderness, with grizzled performances from Ethan Hawke and Russell Crowe. The critic highlights memorable set pieces and human stakes in this tense, character-driven adventure. [Read](https://www.screendaily.com/reviews/the-weight-review-ethan-hawke-and-russell-crowe-expertly-carry-tense-effective-1930s-survival-tale/5213064.article) - **The AV Club**, Mitchell Beaupre (B+): Ethan Hawke excels in this throwback '70s-style adventure about prisoners transporting gold through dangerous wilderness, with great performances and exciting set pieces. It highlights the director's care in world-building, strong character focus, and visceral practical action sequences. [Read](https://www.avclub.com/the-weight-review-ethan-hawke-russell-crowe-old-school-adventure) - **Vulture** (80/100, inferred): McKinley's Depression-era thriller about prisoners transporting gold bars through Oregon forests establishes strong physical and emotional stakes with believable camaraderie and tension from the cast led by Ethan Hawke. It singles out the atmospheric, lived-in world and survival-thriller elements as the kind of exciting period drama we don't get much anymore. [Read](https://www.vulture.com/article/the-weight-review-we-dont-get-movies-like-this-anymore.html) - **The New York Times**, Beatrice Loayza (70/100, inferred): The critic finds the film an adrenaline-spiked adventure that doesn't fully reach the suspense of classics like Deliverance, but Hawke's arresting performance carries its testosterone-fueled escapism. The script is noted for feeling forced at times despite confidently choreographed sequences. [Read](https://www.nytimes.com/2026/09/17/movies/the-weight-review.html) - **Time Out**, Stephen A Russell (3 out of 5 stars): McKinley’s Great Depression gold heist has a welcome old-fashioned ’70s vibe and charm, largely thanks to Ethan Hawke. The critic notes some overlong stretches and editing issues but praises its simple thrills and band-against-the-odds adventure feel. [Read](https://www.timeout.com/movies/the-weight-review-2026) - **Los Angeles Times**, Katie Walsh (65/100, inferred): The critic sees the film as a 1970s throwback blending Sorcerer-style tension with indie authenticity, praising its period details, cast, and craft while noting it stages nail-biting sequences. It is faulted for opting for an oddly cheery, optimistic ending over a bolder, more despairing one. [Read](https://www.latimes.com/entertainment-arts/movies/story/2026-09-18/the-weight-review-ethan-hawke-russell-crowe-austin-amelio-padraic-mckinley) - **The Guardian** (65/100, inferred): The critic finds The Weight a conventional but mostly admirable adventure drama about gold smuggling in 1930s Oregon, anchored by Ethan Hawke's physically gruelling and persuasive lead performance. The low-budget production lacks sufficient suspense and setpieces, with some stock characters and pacing issues holding it back from greater impact. [Read](https://www.theguardian.com/film/2026/jan/27/the-weight-review-ethan-hawke-sundance) - **Slant Magazine**, Ross McIndoe (60/100, inferred): The film has an old-fashioned allure as a grubby survival thriller about prisoners smuggling gold through the wilderness, with a tactile 1930s world and clever set pieces like the rope bridge. However, its best ideas are often let down by execution, taking a too-straightforward path with few surprises or twists. [Read](https://www.slantmagazine.com/film/the-weight-review-ethan-hawke/) - **Variety**, Peter Debruge (60/100, inferred): The critic describes it as an intermittently exciting if sometimes arduous throwback to Deliverance-era action movies, praising Hawke as a proactive problem-solver who carries the film and the score's heavy lifting. It is faulted for uneven pacing, lurching quality, and characters who lack depth beyond the lead. [Read](https://variety.com/2026/film/reviews/the-weight-review-ethan-hawke-1236641750/) - **IndieWire**, Ryan Lattanzio (30/100, inferred): Padraic McKinley's action throwback is a 'Sorcerer' homage in which Hawke smuggles stolen gold through the Oregon wilderness, but the plot moves with a slow, murky trudge. It notes the resourceful inmate premise while critiquing the dragging pace and execution. [Read](https://www.indiewire.com/criticism/movies/the-weight-movie-review-ethan-hawke-1235176261/) - **The Hollywood Reporter**, David Rooney (30/100, inferred): The film is well-acted but murky and underpowered as a Depression-era crime drama about a gold-smuggling expedition. It praises Ethan Hawke's charismatic lead performance and some atmospheric elements but faults the lack of suspense, dimension, and dramatic power. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-weight-review-ethan-hawke-russell-crowe-julia-jones-1236484790/) - **Deadline**, Pete Hammond (90/100, inferred): The critic finds this a rousing, gritty Depression-era adventure that revives the spirit of classic 1970s studio pictures and should appeal to audiences in theaters. Hawke delivers a standout lead performance as a determined father driven to extremes. [Read](https://deadline.com/2026/01/the-weight-review-ethan-hawke-russell-crowe-movie-1236697873/) - **The Wrap**, Chase Hutchinson (90/100, inferred): The critic calls the film a gripping, tense Western thriller elevated by Hawke's mesmerizing, word-light lead turn as a stoic father on a perilous mission. The action sequences are well-executed and the wilderness setting adds thematic weight. [Read](https://www.thewrap.com/creative-content/movies/the-weight-review-ethan-hawke/) - **The Playlist**, Carlos Aguilar (C): The critic finds the film highly watchable but mostly by-the-numbers and predictable as a survivalist western, praising Ethan Hawke's grounded and brawny lead performance along with the energetic cinematography of the natural landscapes. They single out the derivative screenplay for complaint, noting its reliance on familiar tropes and archetypes without deeper innovation or commitment to its themes. [Read](https://theplaylist.net/the-weight-review-ethan-hawke-elevates-a-rugged-predictable-gold-run-survivalist-westernsundance-20260131/) ## Details - **Director:** Padraic McKinley - **Director:** Padraic McKinley - **Screenplay:** Shelby Gaines, Matthew Booi - **Story:** Leo Scherman, Matthew Booi, Matthew Chapman - **Cinematography:** Matteo Cocco - **Editor:** Padraic McKinley, Matthew Woolley - **Music:** Latham Gaines, Shelby Gaines - **Production design:** Cora Pratz - **Costume design:** Esther Walz - **Producer:** Simon Fields, Nathan Fields, Ryan Hawke - **Cast:** Ethan Hawke as Samuel Murphy; Russell Crowe as Warden Clancy; Julia Jones as Anna; Austin Amelio as Rankin; Avi Nash as Singh; Lucas Lynggaard Tønnesen as Olson; Sam Hazeldine as Amis; George Burgess as Letender - **Runtime:** 1h 52m - **Certificate (MPA):** R - **Release (the US):** 18 September 2026 - **Genres:** Drama, Thriller, Crime - **Trailer:** https://www.youtube.com/watch?v=7YpuMymmiJ8 ## Where to watch in the US Not streaming, renting or buying in the US at the last check. ## If you liked this - *The Wages of Fear* (1953), Fi1m 90: Clouzot’s lorries full of nitroglycerine; the original film about carrying something that might kill you. — [Fi1m page](https://film.one/film/the-wages-of-fear.md) - *Sorcerer* (1977), Fi1m 88: Friedkin’s remake, with the rope bridge this film plainly remembers, and far crueller weather. — [Fi1m page](https://film.one/film/sorcerer.md) - *Deliverance* (1972), Fi1m 85: Four men, one river, and a forest that has no interest in whether they survive it. — [Fi1m page](https://film.one/film/deliverance.md) - *The Treasure of the Sierra Madre* (1948), Fi1m 88: Gold, three men and the slow discovery that the gold was never the problem. — [Fi1m page](https://film.one/film/the-treasure-of-the-sierra-madre.md) - *The Proposition* (2005), Fi1m 79: Australian outback, a bargain made with the law, and men who talk even less than Murphy. — [Fi1m page](https://film.one/film/the-proposition.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/the-weight