Crichton’s western take isn’t Leone’s tobacco-consuming and hat-tilting explosion, but a meticulous tour to a tamed arena.
Crichton’s western take isn’t Leone’s tobacco-consuming and hat-tilting explosion, but a meticulous tour to a tamed arena. And as much as layered and head scratching this journey is, it is also loosely placed especially in its initial stages. Despite of having various ingredients to bedazzle us and keep us tangled in its overjoyed tour, it fails to proceed its way up to the arc as anticipated. After this arc, which takes place in its middle act, it is basically a surviving nature of human that keeps us going. And with threats at every corner, the sincerity to the crisp is added through meaningful narration. With parallel tracks brimmed with complications that are piled upon each track, Crichton keeps you at the brisk of your seat in its last act.
Not only the Westworld, but the two other similar world of it, suffers through similar apocalypse that is set in storytelling as a ticking bomb. Unfortunately what it fails to land on, is enough material to feed off its audience for its runtime, for either it could been edited better or should have added another compelling scene to match it. For no matter what, there was very little reasoning to stretch a bar fight that is shot in slow motion.
Unfortunately, Benjamin and Brolin are no match for Brynner’s lethal body language, the performance objective is “out of control”. Aforementioned, the first half dwells on an exciting entertaining time of our characters’ lives which unfortunately isn’t shared by the audience in here. Its weak beginning is something that haunts the makers throughout the course. On terms of technical department, the art designing and sharp sound effects is definitely worth taking this tour. Westworld is an another taunt on human’s luxurious needs, it is a well crafted caution tale that scares the bejesus out of us.