Americana

I'm surprised by how enjoyable this movie was.

Screenwriter and director Tony Tost (also a poet) did a fantastic job crafting a story that does feel like poetry in motion.

But to label this movie a neo-western crime drama is, I think, mis-categorizing it and selling it short. It's not a western, despite being set in South Dakota and many characters do wear cowboy hats. And it's not really a crime drama though there is several crimes committed.

I would say "Americana" is more like a day dream of one of the characters - perhaps Sidney Sweeny's Penny Jo or maybe Halsey's Mandy Starr. Or maybe even the little kid. Who knows.

All the actors in this production were good. Sidney Sweeny definitely was very good in a low-key away, and not being exploited sexually for her body.

All in all, if you enjoy good story-telling, give this movie a chance.

AMERICANA is not a disaster. In fact, it's maybe 3/4ths of a very good movie. This neo-Western crime caper has a lot to say both about America's violent past and its fractious, identity politics poisoned present, but it should have taken the time to develop those ideas more fully.

Don't be fooled by Sydney Sweeney's top billing-she's probably the third or even fourth lead. She's fine enough, though her character is underwritten and stuck with a character trait that probably seemed better on the page than how it plays on screen. Halsey is fierce and along with Zahn Mcclarnon probably gives the movie's best performance.

AMERICANA looks and feels like an early Coen Brothers film or something Tarantino might have tried before Pulp Fiction, but it lacks the style, pace and wit that either of those filmmakers would bring to the material. But you could do worse movie-wise these days and if you go in open minded, you might just come away liking this one.

A jarring struggles to settle on a tone between ironic quirkiness, character study and generic thriller action. Terrible structural and climax resolutions. Nothing memorable.

All in all it was subpar, lacking in coherence and character consistency, even when compared with the classic and or older movies of similar philosophical underpinnings.

For a heist movie, this seems to move real slow. Character development are important but film maker seem to not care about run time. If you like Halsey, she makes an appearance early for a short time then disappears until much later then you get a lot of. This film conceptually sound good but it is only (small) part heist. Not even half way through I've already lost interest. I stuck it out and luckily the kid and ghost face aka Henry scene kept me a little invested how the movie progresses. In my opinion the character Henry Alvin made this film tolerable. Halsey did good (I think this is her film debut) acting out her parts. The film is mostly drama and I realized this after much given thought. The end is perfect as it didn't fall into the trappings of a feel good film - the reincarnation nonsense was resoundingly rejected by the true adult in this film. The ending makes perfect sense also because Halsey's character finally realizes true wealth. What would make this film score higher than my six out of ten rating is if they had less of that excruciatingly slow scenes (yes, multiple) with hefty lefty cowboy and Sydney's character.

Director Tony Tost writes and directs a highly entertaining neo-western that reaches its peak in the final stretch. With a first-rate cast, Helsey stands out in particular with a dazzling performance that steals the show.

A film that develops gradually.

Tost's approach gains momentum as we understand where the paths of this neo-Western lead us. The director pays homage to the Western in a modern way, highlighting its characters, their struggles, and their true motivations. He features a committed cast that makes everything shine even more, while the director develops a script that knows exactly what it wants to tell, drawing us into a story that captivates thanks to the charisma of its characters.

A touch of femininity in an intense western.

The director spares no expense in highlighting the strength of his female characters. A solid Sydney Sweeney, more serene than usual, embodies a captivating character with a touch of innocence that makes her charming in every scene. Helsey, on the other hand, steals the show with an impressive performance. The singer displays all her talent in taking on a character filled with wounds and suffering, but also with absolute kindness. Her depth and powerful performance make the film her own from the start. Paul Walter Hauser also stands out, showcasing his full essence as an actor whose talent continues to grow. The cast is rounded out by Eric Dane, Zahn McClamon, and Simon Rex.

An incredible soundtrack.

Although the film isn't completely perfect and struggles in certain aspects, its country-tinged soundtrack manages to elevate the low moments with charming songs and banjo chords that complement the deep drama of this neo-western. Between the performances and the music, Tony Tost manages to pull off a script that loses some threads, but that doesn't affect the outcome of a fulfilling film.

Conclusion .

An interesting offering that recaptures the spirit of the Western in certain aspects, addressing the neo-Western appropriately and delivering a film that, with subtle humor, intense drama, and a truly powerful message between the lines, manages to convey a pleasant feeling throughout. Although it could have been more well-rounded, Americana is undoubtedly worth seeing.