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There’s Gold in Them There Hills

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The Isolate Thief

by Brandon Thomas

To the casual viewer, the classic Western has its tried and true tropes: the dusty landscape, the haggard hero, and maybe the damsel in distress. However, those days are mostly long gone, and the few Westerns that find their way to the screen tend to offer up something a little more left of center. While not fully embracing the neo-Western moniker, The Isolate Thief still delivers a film a little bit more unique than its classical brethren.

Young Ada (MacKenzie Foy, The Conjuring) is the sole occupant of a remote outpost during the Civil War. After stumbling upon a cache of stolen gold, Ada finds herself up against a violent crew of outlaws led by the cunning Fiddler (Sean Bean, National Treasure). As the gang’s patience wears thin, Ada struggles to navigate their growing frustration as well as keep the gold secret. 

The Isolate Thief has the traditional Western shootouts, but the real excitement comes from the tension director John Suits creates. More akin to a thriller at times, Thief uses the threat of violence to greater effect than violence itself. Still, when all hell breaks loose, Suits doesn’t shy away from the carnage inflicted by gunshots, stabbings, and beatings. This approach is especially effective given the film’s chamber piece approach – essentially taking place only at the outpost and the woods directly surrounding it. 

The aforementioned violence is often directed at Ada and the lone female member of the outlaws, Emily (Odeya Rush, Lady Bird), who isn’t there by choice. There’s an interesting – and purposeful – juxtaposition between these two women. Ada is the younger, more naive of the two, and the one willing to try and outwit these vicious men. Emily’s world-weariness straddles the line between cynical and pragmatic – often within the same scene and conversation. Her tragic backstory comes to light, but the true horror of her ordeal is seen only in the character’s eyes.

Bean is at his most sinister as the revolting Fiddler. Most will think of Bean as the redemptive Boromir from The Lord of the Rings or the gone-too-soon Ned Stark on Game of Thrones. Those of us who have been around long enough can remember when Bean cut his teeth on villain roles in Patriot Games and as a foil for 007 in Goldeneye. As Fiddler, Bean injects his natural charm into a character whose only love language is violence. We know what Fiddler is capable of long before Ada does, and it only ratchets up the tension as the film moves towards its brutal climax. 

The Isolate Thief is a thrilling and well-acted entry in the Western genre. While maybe not the next Hateful Eight, it will still satisfy most die-hard fans of this kind of rootin’, shootin’ film.

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Windflower

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Anemone

by Hope Madden

As a young filmmaker, would having arguably the most revered actor of his generation—perhaps of all time—as a father be a blessing or a curse? For Ronan Day-Lewis, directing his first feature with co-writer and lead actor (and dad) Daniel Day-Lewis, it seems to be working out.

Anemone is a tale of fathers and sons, of one generation of men inflicting damage upon the next, and the tenderness that either dies, finds an outlet, or runs to madness.

Sean Bean a is Jem, a good man who strikes out from his dodgy neighborhood in Northern England to the woods, led by the navigational coordinates on the back of a page that reads: Anemone: In Case of Emergency, Break Glass.

The coordinates lead him to his brother, Ray (DDL), a hermit since his time fighting against the IRA. Ray is wanted at home.

Like many of Day-Lewis’s greatest performances, his work here impresses with lengthy stretches of silence punctuated by a couple of brilliantly executed monologues. His lean and scrappy physicality belie the character’s vulnerability in ways that expertly match Ray’s reticent then vulgar speech.

Ray’s a man off the rails, while Bean deftly crafts a character who’s found comfort and strength in structure. Neither actor overplays the brothers’ differences, rather falling into a tenuous if lived-in familiarity.

The great Samantha Morton and an impressive Samuel Bottomley round out the cast, but as usual, all eyes are on Day-Lewis.

RDL knows it, not only providing memorable lines, but crafting an atmosphere that evokes Ray’s troubling inner landscape. Bobby Krlic’s (Eddington, Beau Is Afraid, Midsommar) score conjures an angry melancholy while moments of painterly surrealism deliver flashes of beautiful, hopeful madness. Even when lensing the natural elegance of Ray’s isolated world, RDL and cinematographer Ben Fordesman (Love Lies Bleeding, Saint Maud) evoke a magical splendor.

Anemone feels uncertain of how to resolve itself, to bridge the two worlds it creates. Structure failed Ray, and it nearly fails Anemone. But the film offers more than enough reason to believe in filmmaker Ronan Day-Lewis. And if you needed another reason to believe in actor Daniel Day-Lewis, well, here you go.