Chris Sawin

What makes not only *Wild Horse Nine* great but Martin McDonagh's work in general is that his films typically have a palpable two-person dynamic loaded with absurd dialogue and outrageous conversations, but they also flip-flop between being ridiculously mean and overwhelmingly somber. McDonagh knows how to make you laugh out loud one moment and sob uncontrollably the next, and it never fails to be pure cinema https://bit.ly/Wild9

Brent Marchant

When one thinks about spy thrillers, the James Bond movies usually come to mind first with their exotic locales, bombastic special effects and steamy romantic encounters. But, as this latest offering from writer-director Martin McDonagh illustrates, one doesn’t need such grandiose elements to make a compelling tale of espionage. In fact, it’s been brilliantly pulled off here with qualities not typically associated with this genre – complex characters, quirky humor and considerably less flash, all set during a documented period in history, refreshing changes all around. In 1973, CIA agents Chris Carlisle (John Malkovich) and Lee Chesterfield (Sam Rockwell) are stationed in Santiago, Chile to help stage the coup d’etat that ultimately overthrew President Salvador Allende, the nation’s first democratically elected Communist leader and, by extension, a perceived enemy of American interests. Not long before this event is scheduled to take place, however, the duo goes on a vacation of sorts to Easter Island, the Chilean territory known for its “big stone heads” and a place that 72-year-old Chris always wanted to see, especially now that he’s being treated for terminal cancer. But the trip appears to be more than just a gesture of goodwill for a dying man. Lee is assigned by their boss, MJ (Steve Buscemi), to monitor his increasingly untrustworthy partner, particularly since his morphine treatments and the possible onset of dementia have loosened his tongue. Chris routinely and publicly utters details about past secret CIA operations, such as the 1954 Guatemalan coup, the Cuban Bay of Pigs debacle and even the JFK assassination, material he plans to compile in a memoir. The validity of his statements is somewhat diluted by a string of other outrageous claims (such as the fact that his button-down superior is a heroin addict) and eccentric behavior around other Easter Island tourists. He’s also perfected pathological lying into an artform, one that stretches his credibility exceedingly thin at times. So begins a game of cat-and-mouse between the operatives, one that spins out of control when other nefarious considerations surface and are factored into the mix, such as threats against Lee’s shrewish wife, Marge (Parker Posey), back home in the US. This combination of elements thus makes for a thoroughly engaging and entertaining tale, especially when it becomes apparent that, thanks to numerous plot twists and turns, it’s unclear exactly what’s unfolding, mystifying even the characters themselves. This is all made possible by an incisive, smartly penned screenplay, peppered with witty and outlandish dialogue, the excellent performances of the ensemble, and gorgeous cinematography of the film’s remote and mystical venue. What’s more, the picture’s outstanding character development contributes much to bringing this story to life, delving into such unexpected themes as the late-in-life regrets that Chris, an unexpectedly devout Catholic, begins to feel about his past deeds and how they might, in turn, affect his involvement in the impending Chilean coup. As with the filmmaker’s previous masterpieces, “Three Billboards Outside Ebbing Missouri” (2017) and “In Bruges” (2008), “Wild Horse Nine” is another in a repertoire of fine cinematic releases. While a few segments drag on a little too long, this release is otherwise a bona fide knock-out, one worthy of the considerable awards season buzz it has already garnered. And to think it accomplished all this without gadgets, explosions, femme fatales or vodka martinis shaken not stirred.