At times it’s difficult to tell the difference between a legitimate “high concept” idea and one which is merely intended to be deliberately ironic (or, as we might say, “hipster friendly”). Cowboys & Aliens joins Snakes on a Plane, Hobo with a Shotgun, Zombie Strippers, Alien vs. Predator, and a host of other films that expand a simple premise (perhaps even a mere title) into a full feature film. Does it work? Yes, sort of. Frankly, the “high concept” label sort of fails here, because the “cowboys” could have easily been replaced by contemporary characters in the American West (substitute pickup trucks for the horses), Russian Cossacks, Argentine gauchos, Shaolin monks, Irish farmers, or African bushmen, for all the relevance their “cowboy” status has to the plot. There’s little or no exploration of traditional Western themes, and the film does nothing special to contrast the life and technology of the Old West with the invading aliens’ culture (for instance, giving Longeran an advanced weapon is sort of a cheat, so that “cowboys and aliens” becomes “one cowboy with a ray-gun and a good alien-woman and a bunch of regular cowboys versus the aliens”).
Still, the Western milieu is undeniably effective (though my opinion is biased, because I like Westerns, period): there’s something…stirring…about the scene in which a group of men set off on horseback into the rugged landscape on a mission, with suitably dramatic music on the soundtrack, and there are other iconic Western moments which strike a familiar, nostalgic chord.
Fantasy Westerns aren’t unknown in the history of cinema: many are supernatural horror (Curse of the Undead, Billy the Kid Versus Dracula) or adventure-science fiction hybrids (The Beast of Hollow Mountain, Valley of Gwangi), though in the past several decades a number of variations have appeared, generally in the lower ranks of films/direct-to-video productions. Cowboys & Aliens, a comic book spinoff, is a major production with several name stars and lavish production values, but it’s still essentially a disposable, popcorn movie with no pretensions to being more than that. I’m not complaining, mind you, I’m simply stating the obvious.
Outlaw Jake Lonergan (Daniel Craig, wearing a floppy hat that draws attention to his big ears) wakes up in the desert, dazed and with a strange device clamped on one wrist. He wanders into the dusty town of Absolution in time to see the wastrel son of powerful rancher Dolarhyde abusing the townspeople. It’s a moot point, however, since Absolution is suddenly attacked by mysterious flying machines that blow up various buildings and abduct a few people (jerking them into the sky with high-tech lassoes). Jake’s mysterious “bracelet” turns into a ray-gun and shoots down one of the attacking ships, but the alien pilot escapes into the desert. Jake, Dolarhyde, and other residents follow the creature, hoping to rescue their stolen loved ones. Along for the ride is Ella, a young woman who eventually reveals herself to be a good alien hoping to save Earth from the fate that befell her planet. Jake’s former gang and a tribe of Native Americans join the hunt, which culminates in a pitched battle between the invaders and the Earthlings.
My earlier comments about Cowboys & Aliens shouldn’t necessarily be construed as negative criticism of the film: it could have been better, more interesting, less predictable and generic, but it’s not bad. While everyone more or less plays to type, the performances are pleasant enough. Harrison Ford seems to be having a good time as Dolarhyde, a crusty Civil War veteran who now rules Absolution by virtue of his wealth and influence; Sam Rockwell and (an unrecognisable) Keith Carradine are also good, while Olivia Wilde and Ana de la Reguera (known to me for her Mexican film work) are attractive and feisty (although de la Reguera’s character gets abducted and is thus off-screen for most of the movie). The rest of the supporting cast is fine, looking and acting suitably old-timey. Daniel Craig is satisfactory as Jake Lonergan, but he’s rather bland: the film would have been improved had a more dynamic personality been cast in the role.
The special effects are adequate, although the design of the (CGI, of course) aliens is a bit disappointing: they’re ludicrously top-heavy, with bulging shoulders, arms, and chests and spindly little legs, no particular facial features (and thus no visible emotions), and move in an unrealistic fashion, loping like turbo-charged cartoon gorilla-dogs. I know, I complain a lot about CGI and I can’t say I’d always prefer stop-motion animation or men-in-suit monsters, but in this case it’s the concept of the aliens’ appearance and actions that annoys me, not necessarily the technical execution of their movement (and it’s just my opinion, your reaction may differ).
Cowboys & Aliens contains no surprises and no innovations, but it’s…alright. If the title appeals to you, then you’ll probably feel the film delivers what the title promises: lightweight summer movie fare.
