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‘Rust’ Review: Defined by Tragedy, Alec Baldwin’s Cursed Western Offers Halyna Hutchins’ Story a Small but Necessary Sense of Closure

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‘Rust’ Review: Defined by Tragedy, Alec Baldwin’s Cursed Western Offers Halyna Hutchins’ Story a Small but Necessary Sense of Closure

When cinematographer Halyna Hutchins was inadvertently shot and killed by a live round on the set of “Rust” in October of 2021, it seemed unfathomable to me that production would ever be completed — let alone that I would be tasked with reviewing the finished product one day. 

“Twilight Zone: The Movie” and “The Crow” were both released in spite of similar tragedies (in addition to more recent examples like “American Made” and “Deadpool 2,” whose stunt performer deaths sparked considerably less attention), but that was before the internet had so thoroughly flattened every film into the context of its own creation. The horror took on a life of its own when second assistant camerawoman Sarah Jones was fatally struck by a freight train on the first day of filming “Midnight Rider” in February 2014, and the Facebook group that crew members started to oppose resuming the shoot had swelled to more than 10,000 members by April of that year.

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And what happened on the set of “Rust” caused such an instant firestorm that most of the film’s production team — huddled together in a tent as police and medical personnel began to address the situation — first learned that Hutchins was dead by reading about it on their phones. 

By the time the sun went down that day, “Rust” had become inextricable from the calamity that had occurred in a small New Mexico church on the 12th day of the film’s production. And while armorer Hannah Gutierrez-Reed has since been convicted of involuntary manslaughter for her role in the accident, the enduring mystery as to why a live round was loaded into that weapon — and the persistent question of star/producer Alec Baldwin’s culpability in firing it — has only made it more difficult for the movie to escape the dark shadow cast by its production. 

“Rust” was completed for that very reason.

In a bid to create some closure of their own, much of the original cast and crew reunited in the spring of 2023 to finish what they had started 18 months earlier. Some only agreed to do so at the direct urging of Hutchins’ husband, who received an executive producer credit as part of a settlement, and insisted that finishing the movie was the best way of honoring his late wife’s memory and dedication to her craft. 

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In that light, whether or not “Rust” is a good movie would seem to be irrelevant; a masterpiece wouldn’t be “worth” the loss of Hutchins’ life, and a disaster wouldn’t make her death any more senseless than it was to begin with. Still, I can’t help but feel as though reviewing the film — a film that’s about to be dumped into a handful of theaters in tandem with its low-profile release on VOD — is a critical step in the project’s transition from a cursed production to a lasting monument. 

I emphasize the purpose of reviewing “Rust” in part because there’s so little else of consequence to say about the movie, a competent but uncompelling Western whose story is saddled with the unfortunate irony of being about an accidental shooting. The triggerman is a 13-year-old orphan named Lucas Hollister (Patrick Scott McDermott, making the most of this grim opportunity), whose younger brother depends on him to protect their late parents’ Wyoming ranch from wolves and other predators. One fateful morning in 1882, Lucas aims his rifle at a four-legged trespasser, only to hit a human villain hiding just over the ridge. The law holds the boy accountable despite his lack of malice, only for Alec Baldwin — of all people — to save Lucas from a noose by murdering all of his jailers.

The two fugitives make a break for the Mexican border: young Lucas and Harland Rust, a legendary outlaw who also happens to be his maternal grandfather. Harland has never met the kid before, and — underneath his cartoonishly gruff exterior, and layers of lily-gilded dialogue like “You tell any son of a bitch who comes after me that he will shake hands with the devil himself” — it’s clear that the old man is eager to make up for lost time, even if Lucas just wants to get home to his little brother. 

And so the long-estranged relatives trek across a rugged sweep of the American Southwest, the hostility between them (very) slowly thawing into something that resembles love as they elude bounty hunters and have campfire heart-to-hearts. Those conversations largely boil down to Harland saying things like “This ain’t no game, boy,” and “There’s alive and there’s ain’t — try to focus on the former,” but even the most derivative aspects of Souza’s script resonate with an inescapable awareness of life’s cruelties. While Hutchins’ memory is obviously most palpable in the movie’s sweeping vistas, backlit interiors, and dusky skies, it’s hard not to feel her presence when sheriff Wood Helm (an effective Josh Hopkins), hot on Harland’s trail, laments the random illness that has befallen his own son. 

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Much of Hopkins’ performance is wasted on the lopsided “The Good, the Bad and the Ugly” triangle — completed by a devil-eyed Travis Fimmel as ruthless bounty hunter Fenton “Preacher” Lang — that needlessly warps “Rust” well beyond the two-hour mark, but every second of bloat is an extra opportunity to savor the beauty of a film that only exists to be looked at. Hutchins lensed a relatively small fraction of the footage that appears in the finished edition of “Rust,” as several actors had to be recast and their scenes reshot (the church scene was scrapped altogether), but co-credited cinematographer Bianca Cline has honored her late colleague by adhering to the details and lighting choices left behind in Hutchins’ notes. 

As a result, the footage is not just impressively seamless, but also beautiful throughout. The film’s digital gloss dovetails with the rustic elementalism of its genre, whereas so many other recent Westerns have forced those two aesthetics into direct confrontation with each other. Clunky as “Rust” can be when its script tries to navigate how the regrets of one generation might seed the hopes of another, the film’s photography creates a nuanced conversation between the heartbreak of the past and the promise of the future. In this case, that promise will remain eternally unfulfilled.

“Some things in this life you can’t get back, I reckon,” Harland laments. It’s the one truth that “Rust” conveys all too well. 

“Rust” is now playing in theaters and on VOD.

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Movie Reviews

Sisu: Road to Revenge

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Sisu: Road to Revenge

The lethal and tenacious Aatami Korpi returns in this sequel to 2022’s Sisu. Like its predecessor, Sisu: Road to Revenge offers up nonstop, gory hyper-violence as the old soldier shoots and stabs his way through the Soviet Union’s Red Army to avenge his family’s murder. Paired with all the bloodshed is a handful of f-words and some drinking, as well.

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Movie Review: “Sisu: Road to Revenge” takes a Wrong Turn or Three

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Movie Review: “Sisu: Road to Revenge” takes a Wrong Turn or Three

I am an audience of one at a late afternoon “preview” matinee of “Sisu 2,” aka “Sisu: Road to Revenge,” the sequel to the savage sleeper hit by Finnish carnage Jalmari Helander.

Do the locals know something I don’t? Or are the good folks in “The Last Capital of the Confederacy” showing their red ball cap displeasure at a movie about mowing down Russians by staying home?

I’m guessing it’s the fact that Screen Gems’ marketing didn’t spend enough to move the needle even a centimeter that dampened enthusiasm, as nobody knows about it.

That’s no big deal, because this sequel is inferior in pretty much every way to the original “Sisu,” which came out of nowhere back in 2023 and which takes its title from a Finnish word that more of less means unfettered rage. It’s not on a par with Helander’s “Rare Exports” Santa-horror splatter film either. He’s due for a misstep. Here it is.

“Road to Revenge” brings back our non-speaking, unstoppable and unkillable Finnish commando Korpi (Jorma Tommila), this time out to haul the pieces to his house across the Russian border after the end of World War II.

When your anti-hero is “unstoppable” and “unkillable,” that lowers the stakes. A lot.

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Throw in feeble pacing and thus no urgency to its story of driving, shooting, stabbing and missle-launching his way through legions of belligerant Russians, fresh from their triumph in “The Great Patriotic War,” and you’ve got a thriller whose only creative bits are random moments of Russian-mutilating and murdering.

Remember, the vodka/borscht-folk and their dictator sided with the Nazis at the beginning of WWII, only to F-around and find out you can never trust a Nazi. And the Russians further earned their history’s bad-guys status by invading Finland at the start of the war, and paying dearly for their miscalculation, at least for a time.

The Soviet Russians annexed Finnish territory at war’s end, and that’s where Korpi lived. So he’s got his passport and his battered, oversized military truck and he’s aiming to move the logs of his old homestead, where his family was slaughtered, to a new location across the new border.

Ivan doesn’t want him to get away with it.

The stages of his quest are broken into superfluous “chapters” like “Old Enemies,” “Motor Mayhem:” and “Incoming.” The dialogue, almost all of it by a Russian tormentor (Stephen Lang) who commanded the troops who failed to finish off the Finn in the first film, is every bit as pointless.

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“Unleash Hell,” like they haven’t already. “Keep your eyes open,” the most worthless command cliche of them all. And “Look at me,” served up as if he isn’t looking at you.

Duels against armored commandos on motorcycles (!?), airborne fighter bombers and the like ensue. Our hero takes another licking and keeps on ticking. The Russians? Let the body count commence, Comrades!

I laughed at a few of the more audacious butcherings, but that was early on. The narrative settles into a slog in the middle acts and no pull-out-the-stops train ride finale could drag it out of the mud.

Rating: R, graphic violence, pretty much start to finish, profanity

Cast: Jorma Tommila, Richard Brake and Stephen Lang.

Credits: Scripted and directed by Jalmari Helander. A Screen Gems release.

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Running time: 1:29

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About Roger Moore

Movie Critic, formerly with McClatchy-Tribune News Service, Orlando Sentinel, published in Spin Magazine, The World and now published here, Orlando Magazine, Autoweek Magazine

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Wicked: For Good Movie Review: Ariana Grande Shines In A Solid But Weaker-Than-The-Original Finale!

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Wicked: For Good Movie Review: Ariana Grande Shines In A Solid But Weaker-Than-The-Original Finale!

Wicked: For Good Movie Review Rating:

Star Cast: Ariana Grande, Cynthia Erivo, Jeff Goldblum, Jonathan Bailey, and Michelle Yeoh.

Director: Jon M. Chu

Wicked: For Good Movie Review Out: Solid Performances But Underwhelming Conclusion (Photo Credit – Instagram)

What’s Good: Wicked: For Good is definitely a showpiece when it comes to production values, and so, every single frame is beautiful to look at and the ultimate Wizard of Oz experience when it comes to visuals.

What’s Bad: The film is slower than the first, and it feels, especially when the new songs don’t hit like the ones in the previous instalment ,and dialogue feels like a lot of filler.

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Loo Break: Anywhere in the first act, as the film moves so slowly that you can probably go and come back and not miss anything.

Watch or Not?: If you loved the first one, then yes, you need to see this and close the cycle.

Language: English (with subtitles).

Available On: Theaters

Runtime: 137 Minutes

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User Rating:

Opening:

Wicked: For Good Movie Review: Ariana Grande Shines (Photo Credit – YouTube)

Wicked: For Good Movie Review: Script Analysis

Wicked: For Good is a solid film, there is no doubt about that, you just have to look at the powerful visuals, and the entire production value, but the script might be the weakest aspect of the film, especially when it comes to structure and dialogue, which affects the pacing, making the first two acts of this musical epic feel like it could do with a couple more drafts to make the story tighter, and the flow a lot more natural.

As it is, the first two acts move a snail’s pace, and the songs simply don’t match the quality and catchiness of the songs in the first two acts of the first film, here, the songs feel like they are there just to make the film longer, and it is hard to remember one that is simply memorable enough to sing along. Fans of the original musical will probably have a lot more fun with this aspect of the film, but as a newcomer, I did feel a drop in quality on the musical side.

The dialogue also does a lot of damage to the film, as it feels like everything is delivered in two or three lines that are too long, when it could have been conveyed in a simpler and more efficient way. It just doesn’t work, and while the actors do their best, the material doesn’t hold up. Nevertheless, some jokes here and there truly land, and the film does tell a compelling, complete story, which is a lot more than many other films do today.

The third act also feels quite rushed, and the connections to the original Wizard of Oz film, and the characters from that story deserved a lot more, because they are so legendary and iconic, that for some reason this movie feels like it should just move away from them as fast as it can, hurting the overall impact of the story, and the character growth.

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Wicked: For Good Movie Review: Star Performance

Cynthia Erivo is quite solid in here, and she is plotwise, the main character, but let’s be real, this is the Ariana Grande show, who basically steals the show in every single scenes she is in, not only with her powerful voice but also with her solid acting abilities, she just has it, when it comes to presence, delivery and charisma.

The rest of the cast is quite good. Bailey does some terrifying things in the film and effectively creates all the darkness it needs, while Goldblum’s Oz is just right – nothing to talk about, but definitely his performance, along with the rest from all the other actors, doesn’t hurt the film; it elevates it.

Wicked: For Good Movie Review: Movie Lacks Crisp Editing At Places (Photo Credit – YouTube)

Wicked: For Good Movie Review: Direction, Music

Jon M. Chu started as a relatively standard director. Still, he has definitely graduated to the big leagues with these two films, as the scale of everything just goes out of the window when it comes to the visuals and the camera’s placement, which is always in the perfect spot to show it. Really, the world-building that Chu and his team have created here is outstanding.

The music, as we said before isn’t as good or memorable as the first film which really hurts the experience because this is a musical and I thought the best was being safe for last in the song department, of course, it will be a matter of taste, as it is everything but this is definitely one of the biggest negative points for the film. Nevertheless, the performers are truly going out of their way to create something extraordinary, so there is really nothing to criticize regarding the actors, dancers and singers themselves.

Wicked: For Good Movie Review: Takes Viewers On An Atmospheric Ride (Photo Credit – YouTube)

Wicked: For Good Movie Review: The Last Word

Wicked: For Good closes this adventure in a solid manner, although the overall package feels weaker than the first film, which is disappointing. However, Jon. M. Chu, his team, and his cast demonstrate that they truly care about the project, and it shows on the screen as the film finally delivers on being entertaining, grandiose, and visually stunning. It could have been better, but what is there is truly remarkable.

Wicked: For Good Trailer

Wicked: For Good releases on 21 November, 2025.

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Must Read: Now You See Me: Now You Don’t Movie Review: The Strange Case Of A Sequel That Nobody Wanted & Many Had Already Forgotten!

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