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Deadwood: Film Review – IGN


Welcome to f ** k back.

Deadwood: The premiere of the HBO movie on May 31 (20:00 ET / PT).

About 13 years after HBO canceled the award-winning series, Deadwood finally gets the right conclusion its creators, actors and fans have long expected in the form of a feature film. And though it would not be considered one of the best episodes of the series, this film is still appropriate and moving goodbye to Dudewood and his voice of verbose but roughly cut, morally complex characters. Deadwood: The Movie, which appeared in 1

889 when South Dakota became the 40th country in the Union. An American Senator came to the town to mark this important occasion … George Ambrose Hearst (played with a terrible determination by Gerald McCrenye), the same rich and powerful villain who ruled over Dayton in Season 3. [1959006] Hearst's Return Opens Old Wounds for survivors of Dudewood, and now he has the political power – and ruthless armed men – to defend him, as he pursues his personal agenda in the city under the guise of an official visit. Can the inhabitants, who have so often been in conflict with each other in the past, unite to confront a common enemy and protect their community?

The crime that pushes citizens to action takes a little time – about 40 minutes in a 110-minute film – but at least lets viewers catch up with old friends if they're familiar with the show or, if they're new to Deadwood, get a clue for the time and place (and his signature) a dense, theatrical dialogue) before the guns start a-blazin. And this time and place are on the move. As it is said more than once during the movie, the future comes and it can not be stopped. Whether the citizens of Daywood will go without a fight is the question that is asked. In what some might think of as a nonsense to HBO, which is now owned by AT & T, the future of this film is symbolized by the arrival, which is the information age in its embryonic stage, but it is probably also a metaphor for the developing entertainment industry, as it is increasingly dominated if it is not absorbed by technology conglomerates.)

Hearst is not the only one to return to Dodewood after a long absence. Alma Elsworth (the underused Molly Parker) and Kalamati Jane (Robin Weigert – Scene Theft) are returning to the heart, even if the former turns it into a bank business. Alma's craving for Sheriff Bethleck (gray, even more stylist Timothy Olyphant) is not the strongest movie in the movie – ultimately she has a key feature in the story – while Jane's attempts to compensate with Joey Stubbs (Kim Dickens) bears more weight because there is actually some room for their heroes. As the most remarkable new player in the movie, Gem Saloon's newest prostitute, Caroline Wulgarden, Jade Pettichon is well off, even if her fresh face does not necessarily do much to advance the story.

Charlie Uter, Martha Bullock, Dan Doritti, Farnum, Wu, Johnny, Bijou, Doc Cocker, Sofia – but the movie finally turns around around Trixie (hard but gentle Paula Malcomson) Star (John Hawks), who are stunned to expect parents of their age, as well as the two leading leaders of the ensemble, stubborn policeman Bullock and the shadowy but not insensitive owner of the Al-Suarengen salon (always captivating Ian McShain). It's through these complex, multi-layered characters that Deadwood: The Movie – and his screenwriter and creator of the David Milch series – explores his most compelling and emotionally effective elements.

Disease, regret, guilt, the proverb – a real love. – they all play here, each of Bullock and Suarengen taking the burden of the future and thinking of the sins of the past. This resolution is not as bleak as it sounds; While Deadwood: The Movie is not softer than the series inspiring it, it is certainly more reliable or at least open to the idea of ​​happiness. If I had to equate it to something familiar or formulated, it would be a "Christmas episode" on the TV show where happiness is near (even a pretty good song and a snowfall at the end). has made so much of the bitter shipment that Dodewood could have hoped for, even if her last line was a middle finger to any such supernatural sentiment, a crude reproach that embodies everything profane and militant, which made fans fall in love with it [19659011Deadwood:ThefilmmaynotbetheseriesinitsabsolutebestbutitisstillawelcomeandemotionallyeffectiveswanforthisinnovativeshowofaparticularlycolorfulerroneousandfuriouslyscatteredcityofvillainsmisanthropistsandmurderersYouwillbemissedgruesomeboys

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