User reviews

Anything from Taylor Sheridan is always worth checking out, and he rarely disappoints. "1923" is off to a promising start with its premiere. As is customary for works by Sheridan and director Ben Richardson, the show features a strong cast, good screenplay, and gorgeous cinematography.

I'm delighted to see that they brought back Isabel May to narrate. She did a terrific job in "1883", and I have no doubt she will deliver yet another spellbinding performance.

However, the episode wasn't perfect. The story didn't quite pull me in right away. It moved around a lot while introducing new characters. This was necessary, of course, but it made the episode feel a little disjointed at times. Moreover, the animal CGI was subpar, particularly in the episode's closing minutes.

I'm excited to see how the story unfolds and can't wait to see Harrison Ford and Helen Mirren deliver some great performances. Despite some bumps in the premiere episode, I'm optimistic for the rest of the season.

Rating: 7.5/10 (Good)

I'm coming into this show as a complete outsider. I've never watched "Yellowstone," nor am I necessarily interested in watching it. It's not that it doesn't look good, it's just not a real priority for me. However, with the announcement of all its many spin-offs, the one that really got me was "1923" and mostly because of the inclusion of Harrison Ford and Helen Mirren. I also thought that this premise sounded the most interesting, and therefore, I decided to give this one a go. And the first episode shows a lot of promise, although I'm unsure about some of the subplots and their direction.

A good first episode is one that does a good job of setting the direction and the tone of a specific show. Now, the tone has already been set by the predecessors, so there wasn't a desperate need for it to do that. However, as someone who hasn't seen the other shows, I found that they did a good job of telling us what kind of show this is. A gritty, realistic take on the state that things were in back in the early 1900s. As for the direction, that's where it starts getting a little muddier. There are certainly a variety of storylines going and most of them seem to have a clear narrative. However, there are a few that felt like an afterthought for this specific episode, mostly referring to the boarding school storyline. It definitely helped set the tone and that's where I appreciated it a lot, but the overall arc of that seems to be coming a bit later, so it felt a little out-of-place in this specific episode. There's also not a clear lack of distinction in the show's characters. I was constantly confused about the relationship that most of them had to each other, and that may just be me not following it properly, but to me, it felt like the writing wasn't as specific as it could have been. However, everything else came into place quite perfectly, especially with powerhouses like Harrison Ford and Helen Mirren at the helm, giving their legendary skills to the growing TV landscape.

"1923" was a good premiere episode, and it did a good job of setting the tone for the show and introducing us to the characters. The writing could have been a bit stronger, containing the subplots a little better and making the characters stand out a little more, but all of that's probably coming soon.

In the BTS promo for his new series, creator Taylor Sheridan stresses the epic nature of the show, comparing it to movies, and he wasn't boasting or kidding. Though his meteoric success in TV, arguably the biggest splash since producers Shonda Rhimes and Ryan Murphy made the scene, has already drawn the inevitable detractors, this prequel to "Yellowstone" is the immediately gripping, sprawling saga fans want to see.

Having true superstars Helen Mirren and Harrison Ford is quite an asset, each bringing both skill and gravitas to their ancestral roles. This opening episode notably has shock effects bookending the show, from Mirren's introduction in full "don't mess with me" fighting stance to antihero Brandon Sklenar's violent cliffhanger finale in Kenya.

It was a pleasurable surprise to see Sheridan's daring inclusion of not only the Dark Continent subplot with Great White Hunter Sklenar's adventure but even a credible World War I flashback to broaden the story far beyond Montana. Sklenar especially impressed me, embodying a character actor type of leading man reminiscent of young Tommy Lee Jones. And the now-familiar voice of Isabel May from "1883" as narrator was a great idea.

I confess to being a Sheridan fan -I greatly enjoyed even his flop to date, Angelina Jolie and Finn Little in "Those Who Wish Me Dead". He's an unlikely Hollywood mogul, but let's all hope he manages "to keep up the good work".

This Taylor Sheridan is a genius. What an amazing, consistent, passionate writer and producer. I can already see that this show is going to be great. You get sucked right in. Great characters. I don't know what it is but his movies and shows are so engaging. Not as good as 1883 but damn close. Though its one episode in so that can change I'm sure. I hope he goes on to make 1953 and then 2053, 3083, etc. So glad that shows like this exist in a time where there is a lot of crap out there. Harrison Ford was a perfect choice for this role. Can't wait for more! Now I must watch some more Yellowstone. :)

This was a great episode, Harrison still has it he is great, I loved Yellowstone and even 1883 this is another great follow up to a great series of shows can't wait to see what they have planned for the rest of the Shows season and for season 2

Helen is great as usual and Harrison and Helen really carry this show, this show also has great atmosphere and good sets, and the whole cast is fantastic and Harrison with an accent is always nice to hear.

I love western shoes and this is a step in the right direction , loved it and was a great first episode , however there were some weird cuts in the episode.

The first episode of Taylor Sheridan's "1923," directed by Ben Richardson, launches this ambitious prequel with a commanding blend of potent performances, atmospheric storytelling, and a richly textured historical setting. Set in the titular year, the episode introduces viewers to the Dutton family amid one of their most turbulent eras: facing the deadly combination of a drought, the Great Depression's looming shadow, and the tail end of Prohibition, all while struggling to sustain their Montana ranch. This installment skillfully sets the tone for a saga deeply rooted in themes of survival, legacy, and the shifting American frontier.

The narrative unfolds across interwoven character arcs, chiefly centered around Jacob (Harrison Ford) and Cara Dutton (Helen Mirren), whose commanding presences anchor the story with gravitas and emotional weight. Their portrayal as weathered yet determined stewards of the land vividly communicates the psychological and physical toll exacted by their circumstances. A significant subplot involves Spencer Dutton, whose harrowing post-World War I trauma propels a globe-spanning arc from African hunting expeditions to an uneasy return home, exemplifying the broader generational and cultural upheaval inherent to the period. Meanwhile, the boarding school narrative featuring Teonna Rainwater introduces an urgent and raw examination of Native American struggles with assimilation and violence, positioning the series as both a Western and a critical cultural commentary.

Director Ben Richardson's stylistic choices are both elegant and unrelenting. Cinematography utilizes sweeping landscapes that evoke the vastness and isolation of Montana's wilderness, contrasted with intimate close-ups revealing the characters' internal conflicts and vulnerabilities. The naturalistic lighting and a muted, often somber color palette underscore the harshness of the environment and the era's challenges. The editing paces the episode thoughtfully, balancing moments of quiet reflection with sharp bursts of tension - as seen in the brutal confrontations and everyday struggles that punctuate the characters' lives - crafting a rhythm that feels both immersive and authentic.

The script by Taylor Sheridan weaves together historical authenticity with complex character dynamics and moral ambiguity. The central range war conflict, epitomized by the tension between cattle ranchers and sheepherders, is both a literal and symbolic struggle for survival and power, framed with nuance rather than simplistic good-versus-evil. This thematic depth extends to explorations of familial loyalty, cultural identity, and the psychological scars of war and displacement, notably through Spencer's haunted persona and Teonna's fight against oppressive institutions. While some plotlines begin subtly or with open-ended ambiguity, this methodical storytelling fosters a layered narrative poised to deepen over the season.

Performances across the board are a standout strength. Harrison Ford's portrayal of Jacob exudes stoic resilience and internal angst, while Helen Mirren's Cara merges maternal strength with icy resolve. Isabel May's return as Elsa through narrative voiceovers maintains a thematic continuity with the Yellowstone prequels, providing a haunting, reflective presence that echoes the family's legacy of violence and survival. Supporting roles, including Jerome Flynn's portrayal of Banner Creighton, enrich the story with palpable tension and cultural conflict, reflecting the complex social fabric of the time.

Nevertheless, the episode is not without criticisms. Some viewers note the occasionally disjointed narrative threads, as the multiple storylines sometimes feel isolated rather than fully integrated, requiring patience to grasp their eventual convergence. Others point to a deliberate pace that prioritizes atmosphere and character over immediate plot propulsion, which may challenge audiences accustomed to faster narratives. Additionally, certain scenes depicting violence and cultural conflicts have sparked debate about representation and narrative intent, highlighting the series' bold engagement with difficult themes.

Culturally and cinematically, "1923" situates itself as a key entry in the modern Western canon - merging revisionist storytelling with a reverence for the genre's iconic imagery and motifs. It connects to its predecessors, notably "1883" and "Yellowstone," while expanding the narrative world and deepening the historical context. Its focus on early 20th-century American challenges adds richness to the genre's traditional focus on frontier mythology, engaging with issues of colonization, economic hardship, and identity in ways that resonate with contemporary audiences.

The premiere of "1923" is a compelling, richly crafted opening chapter for Sheridan's latest expansive saga. It combines iconic acting performances, visually arresting direction, and a thematically ambitious script to present a sobering reflection on the costs of legacy and survival amidst America's transforming landscape. While its deliberate pacing and complex narrative structure ask much of its viewers, the episode rewards with profound character insights and a cinematic atmosphere that lingers. It invites reflection on the enduring cycles of hardship, resilience, and violence that shape the Dutton family and the American West, establishing a powerful foundation for the unfolding series.

Yup, Chipmunk Cheeks from '1883' is doing the voice over. Couldn't stomach her there, ditto here. Good news: it was over quickly.

Bad news: followed by considerable tedium, rewarmed issues from westerns-gone-by . . . Yawn. The whole sheep farmers v cattle ranchers . . . Yawn. Where's John Wayne when you expect him. ANND even MORE tedium, just like in 'Yellowstone' just last week, they're takin' 'em to the high country. Cue the magnificent scenery and lighting. Gettin' old, you guys.

EXcellent news: Spencer Dutton, the brother, is whiling away his PTSD as a big game hunter in Nairobe and is WAAAY more interesting (not to mention pretty hot) and injects the first moment of true excitement in the fab cliffhanger ending, without which I would not have bothered with episode 2.

But I'll be back at least for episode 2.

Had I known that the narrator of this series, which I have waited a long time to get to see, was going to be the same extremely fake sounding wannabe southern-accented blonde from 1883, I sincerely doubt I would have signed up for a subscription to Paramount plus. It was all I could do to make it to the end that 1883 series, and I was so glad that her character actually died that I started looking forward to any other Yellowstone-based spin off. Then again, Taylor, Sheridan has the second worst, southern accent, just behind Blondie, so I don't know what I should've expected. I'll just have to buckle down and ignore it, again, I suppose. At least I've got Helen Mirren in this one.

Very beginning of the show season one episode one you have this old woman carrying a double barrel shotgun, firing it at a man laying on the ground and very little to no recoil. There is no way that she's gonna step back. It's gonna knock her on her ass and may even break some bones again, not realistic enough. Watch something else this movie is not worth it. It's just a waste of time. No different than Yellowstone or anything with horrible acting in it, even though I like some of the actors. I would not recommend it to anyone with a sense of reality and taste. And I also don't know why this website requires a certain amount of characters in order to leave a review like we don't have nothing better to do.