Martin McDonagh is one of those filmmakers who, when he’s operating at his best, is almost impossible to beat. From In Bruges and Seven Psychopaths to Three Billboards Outside Ebbing, Missouri and The Banshees of Inisherin, the man knows how to write unforgettable characters, razor-sharp dialogue, and stories that can make you laugh one minute and leave you feeling completely devastated the next. Wild Horse Nine is another reminder of just how good he can be.
Set in 1973, the film follows two CIA agents, Chris (John Malkovich) and Lee (Sam Rockwell), who travel to Easter Island on a somewhat mysterious mission as political upheaval looms in Chile. But the political backdrop is really just the tip of the iceberg. At its heart, this is a character study about friendship, mortality, regret, trust, and the complicated history two people can share.
Chris is an aging CIA lifer who has accumulated a lifetime’s worth of secrets, including some potentially explosive connections to American history. He’s sick, battling cancer and what appears to be the early stages of dementia. He’s also contemplating writing his memoirs. But more than anything, he wants to spend his final days somewhere peaceful, away from the world, and have his longtime friend Lee help him end his life.
The interesting wrinkle is that the CIA also wants Chris dead. But Lee’s struggle is understanding that there’s a difference between carrying out an order and granting a friend’s final wish. And Chris, as his memory begins to deteriorate, isn’t even sure whether he can trust Lee anymore. As Lee essentially tells him, the hardest part isn’t being trustworthy; it’s convincing someone that they can trust you.
It’s a fascinating dynamic, and the entire movie thrives on the chemistry between these two men. Rockwell and Malkovich are absolutely dynamite together. Rockwell is, as always, terrific in a McDonagh film, but this movie belongs to John Malkovich. What an incredible performance. He’s funny, heartbreaking, occasionally frightening, and completely captivating. There’s a sadness to watching this man slowly lose his grip on his memories while trying to make sense of his life and the things he’s done. I genuinely think this is one of the leading male performances of the year, and I hope Malkovich gets the recognition he deserves. Rockwell deserves serious supporting actor consideration as well.
There’s also plenty happening around them. They encounter two young women on the island, one of whom has her own connections to the CIA, while the other is struggling to reconcile her optimism about Chile’s newly elected democratic, left-wing government with the reality of what’s coming. Chris, knowing far more about the political machinery at work than she does, tries to warn her that the future she’s imagining is about to become something much darker. It’s another interesting layer to a movie that has plenty to say about American politics, history, and the consequences of power.
But one of my favorite elements is Chris’s growing affection for the wild horses roaming Easter Island. There’s something beautiful about watching this dying, increasingly confused man find comfort in these peaceful animals. Against the backdrop of everything he’s done and everything he’s struggling to remember, the horses represent something simple and untouched. There’s a real tenderness to those moments.
And then there’s the filmmaking itself. The decision to shoot on location is a massive plus. I know that sounds like a pretty low bar, considering that’s how movies were made for decades, but it goes such a long way. The landscapes are absolutely remarkable. The cinematography has this beautiful, grainy quality that gives the entire film an authentic 1970s feel, and the use of an old video camera to capture little moments throughout their journey is a wonderful touch. It all adds to the feeling that we’re watching two friends documenting what might be their final days together.
Ultimately, this is a movie about life and death, heaven and hell, good and evil, and the things we carry with us when we look back on our lives. What makes someone a good person? Can you ever really make peace with your past? And when everything else starts slipping away, what does friendship actually mean?
McDonagh’s screenplay is fucking incredible. The dialogue is sharp, hilarious, philosophical, and deeply moving. The movie has plenty of laugh-out-loud moments, but there’s a real somberness underneath everything. And by the time it reaches its conclusion, it leaves you sitting with a genuine sense of sadness.
Steve Buscemi and Parker Posey also pop up in supporting roles, but make no mistake: this is Rockwell and Malkovich’s movie.
I’ve had a really great time with Wild Horse Nine. It’s one of the better movies I’ve seen this year, and another example of what happens when Martin McDonagh is firing on all cylinders. There are certain filmmakers who just seem to bring out career-best performances in the actors they work with. McDonagh is absolutely one of them. Jesse Eisenberg is another filmmaker I think is beginning to show that same ability.
Great writing, two phenomenal lead performances, gorgeous location cinematography, and a story that has plenty to say without ever losing its sense of humor.
Wild Horse Nine = 90/100
