Movie Review: 'Seraphim Falls'

A pursuit film in search of a plot, Seraphim Falls is the epitome of minimalist modern cinema. Thin on dialogue, characterisation and narrative, it features two Irishmen as rugged American gunslingers who fought on opposing sides during the Civil War.

Ambiguous about who is the bad guy and who the good, Falls drops you right into the action as Gideon (Pierce Brosnan— The Matador —sporting an awesome Colonel Sanders moustache and beard combo) is set upon by Carver (Liam Neeson— Batman Begins ) and his goons and relentlessly pursued from the winter wonderland of the mountain peaks to the arid lands below.

Entertaining but an acquired taste, Seraphim Falls won't appeal to everyone even whilst Westerns are enjoying somewhat of a renaissance (TV's Deadwood , Three Burials , James Mangold's upcoming 3:10 to Yuma remake).

Stunning to look at but ultimately empty, much like the striking vistas and expansive horizons John Toll's cinematography presents, Falls feels like an excessively long film—even though it only runs to a relatively short 115 minutes—thanks largely to its meagre nature and the unappealing characteristics of its leads.

Both men are tainted by war and live their lives according to a time when the West was far from tamed. Brutal and bloody in combat to friend and foe alike, only after the full runtime will their incessant obsession and eternal battle be explained. And to be honest the grand reveal is far from revelatory or original in its design.

The man you'll most likely be rooting for is Brosnan's gunslinger Gideon. A groan-filled, but virtually dialogue free role (especially during the opening 20-odd minutes), Falls is another step towards successfully distancing himself from that famous secret agent. Silent in tongue but extremely expressive through body and eyes, it is a highly impressive performance, showcasing a range that hasn't been seen before.

But it is during the bizarre final 20 minutes that Falls will lose some people, regardless of their prior enjoyment, as it evolves from a taut, pared down chase film into a symbolism-heavy, Faustian fable. It is a divisive, but brave, move by writer/director David von Ancken that, although deserving of credit, ultimately doesn't pay-off.

Three stars out of five