John C. Reilly and Johnny Flynn in Dara Van Dusen’s A PRAYER FOR THE DYING. Image provided by Fantastic Fest. Courtesy of Quiver Distribution.
Directed by Dara Van Dusen – Screenplay by Dara Van Dusen.
Following its world premiere at this year’s Berlinale, the western-adjacent drama, A Prayer for the Dying, from debut feature filmmaker Dara Van Dusen, just had its North American premiere at Fantastic Fest 2026. As part of my remote coverage of the latter festival, I got the opportunity to watch this ambitious debut. Dusen’s Western-adjacent debut, which is being prepared for a post-festival US theatrical release on October 9th, contains fascinating surreal imagery, pitch-black dark character predicaments, and a challenging role for its competent leading man. Although it has some blemishes, I thought it was mostly quite effective.
Recently, I’ve been especially interested in how films sometimes act as history lessons to those who watch them, as well as how this can both be a good and a bad thing. Ultimately, films can be made for a variety of purposes depending on which person involved with the project that you’re asking. With films, there is often a commercial goal or an interest in serving as a piece of entertainment, and these aims can sometimes lead to historical films blurring the lines between truth and fiction to such an extent that you do history a disservice. Other times artistic expression is of the utmost importance, and then, of course, there are, indeed, times when films primarily exist to inform and teach. Most of the time, though, the true purpose of a film is a mixture of all of these motivations. Sometimes the artistic expression combines with a purpose to inform and thus the output manages to stand as a reminder of how certain events have been swept under the rug through history by those in power. Because ultimately history books are as easy to manipulate as any other medium. In the case of Killers of the Flower Moon, we have a piece of historical filmmaking that takes an intense look at the moral rot of America in the 1920s and 1930s. It is a bold and epic film about greed, betrayal, complicity, and a disturbingly very real attempt at genocide. It is an American tragedy from a master storyteller who shows for all to see that he understands exactly what his role is in telling this story, as well as who should be telling it.
Josh Brolin finds a mysterious black void on his land in the neo-western sci-fi series ‘Outer Range,’ — Photo: Prime Video.
All eight episodes of ‘Outer Range: Season One’ are available on Amazon Prime Video right now.
I don’t think I watch enough Amazon Prime Video shows. Sure, I watch their biggest series and select lesser shows, but I still feel like I often overlook some of their lesser-known output. Brian Watkins’ Outer Range seemed destined to end up as a show I had heard about but which hadn’t caught my eye for whatever reason. But after watching a Late Show with Stephen Colbert interview with the show’s lead actor Josh Brolin, who I am a big fan of, my interest was piqued. Their description of the show had sold it to me, and I’m glad I watched it, even though it’s a difficult show to communicate to others without spoiling too much.
Benedict Cumberbatch and Kodi Smit-McPhee in Jane Campion’s THE POWER OF THE DOG — Photo: Netflix.
Directed by Jane Campion — Screenplay by Jane Campion.
Based on the 1967 Thomas Savage novel of the same name, The Power of the Dog is a western drama set in Montana in the 1920s, when the old American west had begun to morph into a new era. While we hear about automobiles and cities at the local inn, the surrounding wide-open landscape and barren mountains still feel distinctly western. It is clear that the world is changing, and some of these changing roles are exemplified in the film’s characters.
The following is a short review of The Kid — Directed by Vincent D’Onofrio.
Maybe it’s an unfair and impolite thought, but whenever an actor-turned-director gets an A-list cast for his next feature, I start to worry that the star-studded cast only agreed to appear in the film as a favor to a good friend who is trying their hand at a new thing that he or she is relatively inexperienced at. The Kid, a new somewhat-biographical western, is Vincent D’Onofrio’s second feature film as a director. His sophomore effort as a director features a cast that includes Ethan Hawke, Chris Pratt, and Dane DeHaan. I may never learn if they joined this film as a favor or not, but I can say that I enjoyed this film quite a bit. Continue reading “REVIEW: The Kid (2019)”→
The following is a review of The Highwaymen — Directed by John Lee Hancock.
Set in 1934, The Highwaymen, from director John Lee Hancock (The Blind Side; Saving Mr. Banks), tells the story of two former Texas Rangers, Frank Hamer (played by Kevin Costner) and Maney Gault (played by Woody Harrelson) who were hired by Texas governor ‘Ma’ Ferguson (played by Kathy Bates) to stop the notorious criminals Bonnie Parker and Clyde Barrow by any means necessary. Continue reading “REVIEW: The Highwaymen (2019)”→
I, like many other gamers, have now spent weeks playing Red Dead Redemption 2 — Rockstar Games’ latest video game masterpiece that you can lose yourself in. While I was playing the game, I thought of many different films, some of which the game includes visual homages to. So, today I want to highlight some films that you should check out if you loved, liked, or even just had fun with Red Dead Redemption 2. Continue reading “If you like Red Dead Redemption 2, then watch these films – Special Features #33”→
The following is a review of Wind River – Written and Directed by Taylor Sheridan.
When Taylor Sheridan gets one of his screenplays made, you pay attention. The first two films in his so-called ‘frontier trilogy’ — Denis Villeneuve’s Sicario and David Mackenzie’s Hell or High Water — were amazing films that both ended up on my top ten films of the year lists in 2015 and 2016 respectively. And although Sheridan’s presumably last film in his frontier trilogy — Wind River, the first in the trilogy that he has directed himself — won’t be among my ten favorites of 2017, this modern western is still one hell of a movie. Continue reading “REVIEW: Wind River (2017)”→
The following is a spoiler review of the tenth episode of Westworld – Developed by Jonathan Nolan & Lisa Joy
In the final episode of the first season of Westworld, Ford (played by Anthony Hopkins) presents his new story to the Delos board, we finally find out who Wyatt is, Teddy (played by James Marsden) finds Dolores (played by Evan Rachel Wood), and Charlotte (played by Tessa Thompson) tries to force Ford to retire. Continue reading “REVIEW: Westworld – “The Bicameral Mind””→
The following is a spoiler recap/review of the ninth episode of Westworld – Developed by Jonathan Nolan & Lisa Joy
In the ninth episode of Westworld, Ashley Stubbs (played by Luke Hemsworth) tries to find Elsie Hughes (played by Shannon Woodward), Bernard’s (played by Jeffrey Wright) earliest memory is revealed, and two central characters reach the city once swallowed by sand. Continue reading “REVIEW: Westworld – “The Well-Tempered Clavier””→
