D’Onofrio is a professional, he has an eye on the target and a gun in his hand, unfortunately, the kid has to be cradled.
D’Onofrio has an eye for it. He surely does. But then, he is also milking it. The irrelevance is the major theme that drags, the director, Vincent D’Onofrio’s first project, down to a slow dull fist fight. Cowboy duel. I meant, cowboy duels. So, more mundane, in short. And by irrelevancy, I mean, from long close-up shots to devouring the scenery and from brutal violence to crave for cinematic pleasures and then shuck it away for the shocks. Which, is the structure here. It builds up the upcoming event to a degree that it cannot sell. Overselling, is the primary textbook rule in a show business, to have. But to rely upon a wafer thin content as such, has got to be a bit paradoxical.
Another bummer, is how hard D’Onofrio tries. Now, it is always appreciative and he does. But he tries so hard to carve out a marvelous nail-biting sequence, that his one-liner comes off forcefully dry and a cry for cheap shots. And with aplenty flaws as such, the steadiness and confident is to be admired, even though it doesn’t come out productively in the narration. Ethan Hawke as the non-heroic personality ought to and does crave for a complex character as such, there is a lot to dig in and he does.
Chris Pratt, the surprising package, as the baddie, is utterly difficult to swallow. More importantly, because he has been playing beloved characters that breathes crowd-pleasing behavior. And yet, Dane DeHaan, amidst this crowd, gets quite a new spin in his character to portray it magnanimously; an opportunity missed, obviously. The Kid should have been a drama that it tries so hard to be and a showcase of D’Onofrio’s skillful vocab over his self-created ruffian world, instead it is a Western- for sure- gone wrong and a drama misread.