Martin McDonagh returns with Wild Horse Nine, a film that feels very familiar in its DNA, yet still manages to deliver something genuinely thoughtful and thoroughly enjoyable. Tonally, it’s very similar to In Bruges, blending dark comedy, brilliantly written dialogue and existential reflection into a story that is as interested in life and death as it is in making you laugh. For me, it doesn’t quite reach the heights of McDonagh’s earlier work, but if you love In Bruges, there’s a very good chance this will be right up your street.
Visually, the film is fantastic. The setting gives McDonagh plenty to work with, creating a striking backdrop for a story that balances absurdity with some surprisingly sombre reflections. There’s a real sense of atmosphere throughout, and the film looks great without ever feeling as though its visuals are doing all the heavy lifting. It’s a film that’s enjoyable simply to spend time with, even when the narrative itself occasionally feels a little too familiar.
The humour is another major highlight. McDonagh has always had a particular talent for finding comedy in the bleakest of circumstances, and Wild Horse Nine is no exception. The dialogue is sharp, irreverent and frequently hilarious. There’s a wonderful balance between the comedy and the more serious material, allowing the film to move between the two without losing its identity.
The performances are excellent across the board, but John Malkovich is the standout. He brings a real depth to his character, delivering a performance that is funny, eccentric and deeply affecting in equal measure. Sam Rockwell is a brilliant counterpart, and the chemistry between the two is central to what makes the film work so well. Their interactions are consistently entertaining, but there’s also a genuine sadness underneath the bickering and humour that gives their relationship considerable weight.
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What I particularly appreciated, however, was the film’s willingness to reflect on life, death and ageing. Beneath all the comedy and absurdity is a surprisingly sincere meditation on mortality, the choices we make and what it means to look back on the life you’ve lived. There’s a melancholy running through the film that gradually becomes more apparent, and McDonagh handles it with enough restraint to avoid tipping into outright sentimentality. The writing is strong precisely because it can be funny and self-reflective at the same time, never entirely sacrificing one for the other.
My biggest complaint is that you can see where everything is going. The film occasionally feels a little too safe in its structure, and its similarities to In Bruges are difficult to ignore. While the familiar formula is undeniably effective, I would have liked McDonagh to take a few more risks rather than relying on a framework he has already perfected. There are moments when the film feels as though it is revisiting familiar territory rather than discovering something entirely new.
That said, these criticisms never seriously undermine the experience. Wild Horse Nine is funny, beautifully performed and considerably more thoughtful than its absurd premise might initially suggest. It might not be McDonagh’s best work, but there’s plenty here to admire, and Malkovich alone makes it worth the watch.
★★★★
In cinemas from Friday 6th November / John Malkovich, Sam Rockwell, Steve Buscemi, Tom Waits, Parker Posey, Mariana Di Girólamo, Ailín Salas / Dir: Martin McDonagh / Searchlight Pictures / 15
