Movie Reviews
THE BALLAD OF DAVY CROCKETT Review
Dominant Worldview and Other Worldview Content/Elements:
Strong Christian, moral, pro-family worldview promotes family, parental love and loyalty, a strong father and mother, boys begin to recite the Lord’s Prayer in one scene, and friendship between friendly American Indians and settlers, but there is some revisionist history such as title character’s first wife was actually dead at the time of the story, and he had already married a second time and had more than just two sons and movie says Davy Crockett at first supported President Andrew Jackson controversial Indian Removal Act, but he actually opposed it from the beginning and belonged to the opposing party to Jackson’s Democrat Party, plus the movie is marred by a politically correct attitude of moral equivalence;
Foul Language:
One “d” word;
Violence:
[SPOILERS FOLLOW] Strong and light violence such as villain has young boy whipped for walking too slowly, villain sets fire to family’s home, man falls off horse and is impaled by sharp stick, man shoots injured horse when they’re menaced by wolves, man shoots a racoon for a meal, Indian chases man, and then man fights three other Indians trying to kill the first Indian, man saves Indian from falling over a cliff, villains invade a family’s cabin and kidnaps the two boys, father fights villain and his men, villains beat up title character, man shot off horse, man stabbed in stomach, Indian who befriended father earlier and his tribal men attack villains too at an opportune moment;
Sex:
No sex;
Nudity:
No nudity; Alcohol: No alcohol use;
Smoking and/or Drug Use and Abuse:
No smoking or drugs; and,
Miscellaneous Immorality:
Fur trader steals from his employees’ earnings and kidnaps Davy Crockett’s boys for the purpose of indentured servitude.
THE BALLAD OF DAVY CROCKETT which has been released to theaters, follows the life of the king of the wild frontier, Davy Crockett. THE BALLAD OF DAVY CROCKETT creates a moral, inspiring, patriotic representation of the folklore hero Davy Crockett with action packed sequences and intense displays of violence. While there are some accurate depictions of 19th Century frontier life, the story is riddled with inaccuracies and a more idealistic and romantic view of the world and society at the time.
The movie begins with Davy Crockett as a Congressman in a meeting with President Andrew Jackson and his cabinet discussing the President’s plans to pass an Indian removal bill. Each member signs their petition to support the President. However, when it’s Davy’s turn to sign, he is reluctant but eventually caves due to pressure from the President. Before more discussion of the Jackson’s agenda can be planned, Davy receives a letter from his wife, Polly, that she has fallen ill. Davy immediately excuses himself much to the chagrin of the President who tries to manipulate Davy into staying. Unabated, he departs the meeting and begins his journey west to Tennessee.
Meanwhile, back at home, his two boys are having a difficult time taking care of the homestead. From cutting wood to shooting muskets, they are novices at almost every task, which begs the question why Davy would leave them in charge in the first place?
During these events, the movie follows the dealings of the Northern Fur Trading Company boss, Caleb. A greedy, conniving, arrogant person, Caleb discovers that this month’s beaver pelt quota is short by 25 pelts. Reactively, he takes out his outrage on one of the first men he sees, who is short this month, by firing him and leaving him with no belongings. Determined to find the pelt thief, Caleb searches the surrounding areas for all leads.
While galloping home, Davy Crockett falls from his horse and is impaled by a sharp branch. Disoriented and in pain, he observes that wolves are lurking nearby, ready to attack. Upon noticing the predators, Davy’s frightened horse sprints off to avoid being eaten. However, instead of trying to calm the horse down or scare the wolves away, Davy takes out his musket and mercy kills his own horse to avoid falling prey to the ravenous wolves. With leg bleeding out, Davy succumbs to bodily limitations and passes out.
Back home, the boys see that their mother is getting worse, so they begin to recite the Lord’s Prayer. The younger asks the older if he can pray to which the older allows. As they pray, “Our Father who art in Heaven, hallowed be your Name,” the scene shifts to an unconscious Davy under the dark rainy night of the Tennessee sky. As if the prayers echoed into his ear, Davy miraculously awakes and makes a fire in the cold wet night.
The next few scenes try to display Davy Crockett’s skills as a frontiersman and trapper. He is seen building a shelter, shooting a racoon for a meal, and even capturing a wild horse that happened to not run away, not even once. Once the horse is captured and broken (rather quickly), he continues his journey.
As if the journey home could not be more exciting, Davy encounters a lone native traveling on the same path as him. Abruptly, and without warning, a chase begins as the lone native rides after Davy along a narrow path through the woods. The pursuit seems to go on slowly until Davy ditches his horse and sprints up a hill to catch his pursuer off guard.
The lone native, seeing that the trail runs cold, jumps off his horse to look around. Immediately, he is cornered by three other natives from a different tribe, who appear out of nowhere, like ghosts. Seeing that his then single attacker is now fighting for his own life, this leads to another decision in Davy Crockett’s journey. Instead of turning his back on his outnumbered attacker, he helps by firing a musket round as a warning shot. This action immediately puts him on the hit list of this new war party. This leads to a fight and then chase scene between Davy and his lone ally and the three marauding tribesmen.
The hunt comes to a cliff hanging halt when Davy’s former attacker, now ally, falls over off a cliff but is barely saved by Davy’s outstretched arm. With a miraculous amount of time on their hands, Davy lifts his lone ally to safety and then sneaks away from their marauding pursuers. After this, the two of them depart from each other in peace.
While this is commencing, Caleb and one of his goons track down the missing beaver pelt to the Crockett family’s cabin and bangs on the door, demanding to be admitted. Davy’s oldest son readies his musket and fires a shot as the door is busted open. He misses and now the whole house is taken hostage by Caleb and his goon. After much arguing and fighting Caleb says they will wait for the boy’s father’s arrival to settle the debt. While all this is happening, Polly, apparently too ill, remains asleep in the small cabin despite the gunfire and loud commotion.
The next day, more of Caleb’s men arrive to provide backup to him and his right-hand man. As they are outside discussing things, Polly finally stirs awake and readies her musket that had been hiding under her blanket. She tells the boys to run and find Pa. Once one of Caleb’s men enters, she fires her shot, wounding him and yelling for the boys to run. They manage to escape through all Caleb’s men and make their way to Davy Crockett, who’s now nearby. However, they are all quickly taken as hostages, as Caleb’s men catch up to them. Back at the cabin, Polly bravely attempts to give her sons more time by fighting her captives but is beaten severely to the point of unconsciousness.
After Caleb’s men bring Davy and his boys back to the family’s cabin, Davy finally comes face to face with Caleb. A bunch of accusations ensue from the fur trading boss to which Davy exhaustedly defends. Caleb shrewdly manipulates the facts of the case and claims the boys are responsible for not just the one pelt but all twenty-five. Caleb tells Davy they must work four years to pay back the debt, but Davy desperately offers himself as a surrogate. Caleb refuses, however, a fight breaks out.
So, the question becomes, Can Davy Crockett save his family from this evil man and his gang?
THE BALLAD OF DAVY CROCKETT has a strong Christian, moral, pro-family biblical worldview, which promotes family love and loyalty, and prayer. For example, Davy decides to return home for his family despite getting pushback from President Andrew Jackson. He also offers himself to the villain to save his sons from a life of indentured servitude.
However, many scenes in the movie make no sense, seem rushed or end abruptly. They also could use better transitions. The movie also contains some violence, including a scene where the villain whips Davy’s oldest son.
THE BALLAD OF DAVY CROCKETT is also marred by some revisionist history. For example, although the movie’s notes say it’s set in 1815, the movie depicts Davy serving in Congress in 1830 helping Andrew Jackson while still being married to Polly. However, according to all historical texts, she passed away over 10 years before his Congressional run for the Tennessee ninth district in 1827. Also, by 1830, Davy had already remarried, his second wife had two other children of her own, and they had three children together. Finally, the beginning of THE BALLAD OF DAVY CROCKETT says Davy initially supported President Jackson’s Indian Removal Act of 1830. However, history shows that Davy fiercely opposed the Act from the beginning.
In addition, THE BALLAD OF DAVY CROCKETT makes a false, politically correct moral equivalence between people groups. At one point, when the malevolent fur trader Caleb captures Davy, he explains why he wants repayment in full from Davy’s sons. Caleb says, “Without the law, our whole society will be overrun by the savages” (meaning the Indians), to which Davy replies, “We are all savages.” From a biblical standpoint this may true, in the sense that we are all sinners in the eyes of God. However, it is factually inaccurate to say that all people groups behave and act the same. The brutality and savagery committed by people differs from group to group. An example of this are people groups living in Communist China or in Muslim countries living under Sharia Law versus nations operating under a general Christian, biblical worldview, such as the United States. So, although it’s true to say that, during the Indian Wars in the 19th Century, the United States was not a perfect nation and didn’t always deal honorably with the native American tribes, research shows that the some of the tribes of North America waged war against one another, enslaved one another and even engaged in cannibalism before the Europeans arrived in their various territories.
THE BALLAD OF DAVY CROCKETT warrants caution for older children because of violence and the movie’s revision history and politically correct content.
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Movie Reviews
FILM REVIEW: ROSE OF NEVADA – Joyzine
‘4’, the opening track on Richard D James’ (Aphex Twin) self titled 1996 album is a piece of music that beautifully balances the chaotic with the serene, the oppressive and the freeing. It’s a trick that James has pulled off multiple times throughout his career and it is a huge part of what makes him such an iconic and influential artist. Many people have laid the “next Aphex Twin” label on musicians who do things slightly different and when you actually hear their music you realise that, once again, the label is flawed and applied with a lazy attitude. Why mention this? Well, it turns out we’ve been looking for James’ heir apparent in the wrong artform. We’ve so zoned in on music that we’ve not noticed that another Celtic son of Cornwall is rewriting an art form with that highwire balancing act between chaos and beauty. That artist is writer, director and composer Mark Jenkin who over his last two feature films has announced himself as an idiosyncratic voice who is creating his very own language within the world of cinema. Jenkin’s films are often centred around coastal towns or islands and whilst they are experimental or even unsettling, there is always a big heart at the centre of the narrative. A heart that cares about family, tradition, culture, and the pull of ‘home’. Even during the horror of 2022’s brilliant Enys Men you were anchored by the vulnerability and determination of its main protagonist.
This month sees the release of Jenkin’s latest feature film, Rose of Nevada, which is set in a fractured and diminished Cornish coastal town. One day the fishing boat of the film’s title arrives back in harbour after being missing for thirty years. The boat is unoccupied. And frankly that is all the information you are going to get because to discuss any more plot would be unfair on you and disrespectful to Jenkin and the team behind the film. You the viewer should be the one who decides what it is about because thematically there are so many wonderful threads to pull on. This writer’s opinions on what it is about have ranged from a theme of sacrifice for the good of a community to the conflict within when part of you wants to run away from your roots whilst the other half longs to stay and be a lifelong part of its tapestry. Is it about Brexit? Could be. Is it about our own relationships with time and our curation of memory? Could be. Is it about both the positives and negatives of nostalgia? Could be. As a side note, anyone in their mid-40s, like me, who came of age in the 1990s will certainly find moments of warm recognition. Is the film about ghosts and how they haunt families? Could be…I think you get the point.
The elements that make the film so well balanced between chaos and calm are many. It is there in the differing performances between the brilliant two lead actors George MacKay and Callum Turner. It is there in the sound design which fluctuates from being unbearably harsh and metallic, to lulling and warm. It is there in the editing where short, sharp close ups on seemingly unimportant factors are counterbalanced with shots that are held for just that little bit too long. For a film set around the sea, it is apt that it can make you feel like you’re rolling on a stomach churning storm one minute, or a calming low tide the next. Dialogue can be front and centre or blurred and buried under static. One shot is bathed in harsh sunlight whilst the next can be drowned in interior shadows.
Rose of Nevada is Mark Jenkin’s most ambitious film to date yet he has not lost a single iota of innovation, singularity of vision or his gift for telling the most human of stories. It is a film that will tell you different things each time you see it and whilst there are moments that can confuse or beguile, there is so much empathy and love that it can leave you crying tears of emotional understanding. It is chaotic. It is beautiful. It is life……
Rose of Nevada is released on the 24th April.
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Review by Simon Tucker
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Movie Reviews
‘Hen’ movie review: György Pálfi pecks at Europe’s migrant crisis through the eyes of a chicken
A rogue chicken observes the world around it—and particularly the plight of immigrants in Greece—in Hen, which premiered at last year’s Toronto International Film Festival and is now playing in Prague cinemas (and with English subtitles at Kino Světozor and Edison Filmhub). This story of man through the eyes of an animal immediately recalls Robert Bresson’s Au Hasard Balthazar (and Jerzy Skolimowski’s more recent EO), but director and co-writer György Pálfi (Taxidermia) maintains a bitter, unsentimental approach that lands with unexpected force.
Hen opens with striking scenes inside an industrial poultry facility, where eggs are laid, processed, and shuttled along assembly lines of machinery and human hands in an almost mechanized rhythm of production. From this system emerges our protagonist: a black chick that immediately stands apart from the others, its entry into the world defined not by nature, but by an uncaring food industry.
The titular hen matures quickly within this environment before being loaded onto a truck with the others, presumably destined for slaughter. Because of her black plumage, she is singled out by the driver and rejected from the shipment, only to be told she will instead end up as soup in his wife’s kitchen. During a stop at a gas station, however, she escapes.
What follows is a journey through rural Greece by the sea, including an encounter with a fox, before she eventually finds refuge at a decaying roadside restaurant run by an older man (Yannis Kokiasmenos), his daughter (Maria Diakopanayotou), and her child. Discovered by the family’s dog Titan, she is placed in a coop alongside other chickens.
After finding a mate in the local rooster, she lays eggs that are regularly collected by the man; in one quietly unsettling scene, she watches him crack them open and cook them into an omelet. The hen repeatedly attempts to escape, as we slowly observe the true function of the property: it is being used as a transit point for migrants arriving in Greece by boat, facilitated by local criminal figures.
Like Au Hasard Balthazar and EO, Hen largely resists anthropomorphizing its animal protagonist. The hen behaves as a hen, and the humans treat her accordingly, creating a work that feels unusually grounded and almost documentary in texture. At the same time, Pálfi allows space for the audience to project meaning onto her journey, never fully closing the gap between instinct and interpretation.
There are moments, however, where the film deliberately leans into stylization. A playful montage set to Ravel’s Boléro captures her repeated escape attempts from the coop, while a romantic musical cue underscores her brief pairing with the rooster. These sequences do not break the realism so much as refract it, gently encouraging us to read emotion into behavior that remains, on the surface, purely animal.
One of the film’s central narrative threads is the hen’s search for a safe space to lay her eggs without them being taken away by the restaurant owner. This deceptively simple instinct becomes a powerful thematic mirror for the film’s human subplot involving migrant trafficking. Pálfi draws a stark, often uncomfortable parallel between the treatment of animals as commodities and the treatment of displaced people as disposable bodies moving through a similar system of exploitation.
The film takes an increasingly bleak turn toward its climax as the migrant storyline comes fully into focus, sharpening its allegorical intent. The juxtaposition of animal and human vulnerability becomes more explicit, reinforcing the film’s central critique of systemic indifference and violence. While effective, this escalation feels unusually dark, and our protagonist’s unknowing role feels particularly cruel.
The use of animal actors in Hen is remarkable throughout. The hen—played by eight trained chickens—is seamlessly integrated into the film’s world, with seamless editing (by Réka Lemhényi) and staging so precise that at times it feels almost impossible without digital augmentation. While subtle effects work must assist at certain moments, the result is convincing throughout, including standout sequences involving a fox and a dog.
Zoltán Dévényi and Giorgos Karvelas’ cinematography is also impressive, capturing both the intimacy of the hen’s low vantage point and the broader Greek landscape with striking clarity. The camera’s proximity to the animal world gives the film a distinct visual grammar, grounding its allegory in tactile observation rather than abstraction.
Hen is a challenging but often deeply affecting allegory that extends the tradition of animal-centered cinema while pushing it into harsher political territory. Pálfi’s approach—unsentimental, patient, and often confrontational—ensures the film lingers long after its final images. It is not an easy watch, nor a comfortable one, but it is a strikingly original piece of filmmaking that uses its unusual perspective to cast familiar human horrors in a stark, unsettling new light.
Movie Reviews
Movie Review: ‘The Drama’ – Catholic Review
NEW YORK (OSV News) – Many potential brides and grooms-to-be have experienced cold feet in the lead-up to their nuptials. But few can have had their trotters quite so thoroughly chilled as the previously devoted fiance at the center of writer-director Kristoffer Borgli’s provocative psychological study “The Drama” (A24).
Played by Robert Pattinson, British-born, Boston-based museum curator Charlie Thompson begins the film delighted at the prospect of tying the knot with his live-in girlfriend Emma Harwood (Zendaya). But then comes a visit to their caterers where, after much wine has been sampled, the couple wanders down a dangerous conversational path with disastrous results.
Together with their husband-and-wife matron of honor, Rachel (Alana Haim), and best man, Mike (Mamoudou Athie), Charlie and Emma take turns recounting the worst thing they’ve ever done. For Emma, this involves a potential act of profound evil that she planned in her mind but was ultimately dissuaded from carrying out, instead undergoing a kind of conversion.
Emma’s revelation disturbs all three of her companions but leaves Charlie reeling. With only days to go before the wedding, he finds himself forced to reassess his entire relationship with Emma.
As Charlie wavers between loyalty to the person he thought he knew and fear of hitching himself to someone he may never really have understood at all, he’s cast into emotional turmoil. For their part, Rachel and Mike also wrestle with how to react to the situation.
Among other ramifications, Borgli’s screenplay examines the effect of the bombshell on Emma and Charlie’s sexual interaction. So only grown viewers with a high tolerance for such material should accompany the duo through this dark passage in their lives. They’ll likely find the experience insightful but unsettling.
The film contains strong sexual content, including aberrant acts and glimpses of graphic premarital activity, cohabitation, a sequence involving gory physical violence, a narcotics theme, about a half-dozen uses of profanity, a couple of milder oaths, pervasive rough language, numerous crude expressions and obscene gestures. The OSV News classification is L — limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian.
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