'Rust' Review: The ghost of a real death pursues this tragic western

It is almost impossible to criticize a film like Joel Souza's western “rust” because the film itself feels irrelevant in many ways. No matter how “rust” it turned out, the inevitable truth is that on October 21, 2021 a tragedy appeared on the set, which ended Halyna Hutchins' life.

The star of the film, Alec Baldwin, tried a shot and swung a weapon in front of the camera. It fired. It shouldn't have. Regardless of who is to blame – what is a very important question, but not one that I qualified died of Hutchins from her wounds. The film was brought to the queue, then the production finally took up again, and now … here we are.

Is it a good film? It depends on your definition of “good”, I assume. It is difficult to celebrate every production in which such an unthinkable, avoidable event took place. And it is almost impossible to no longer think about Hutchins, while the film plays, partly because the cinematography, which was completed by Bianca Cine (“Marcel the Shell with shoes), is unusual. Although it is not clear which scenes were photographed by Hutchins and which was clear that CLINE HUTCHINS had had to be transmitted with each other, so Breathtaking pictures come directly or indirectly from the original, deceased Kinentor view.

But also “Rust” is a film about death and men who escape the consequences of the corpses they leave behind, and the tribute that it claims to a person after the end of a human life. It is not a surprisingly moving film about these topics, but it is an indelible part of the production.

There are those who argue that we should separate art from the artist and in the context of art from the context of his creation, but that's crap and I think we all know. “Shouldn't” enter. The simple fact is that we do not know a lot of films without knowing how they were made, whether these background stories are beautiful or loathsome, but also do not know what we know. We cannot pretend that “rust” is just another film and judge him as simply according to the simple act of reputation. Not if we know something about it, that's the way it is.

The dilemma remembers Alex Proyas' “The Crow”, his film about a dead man from 1994, who was brought back to life, which was immortalized by tragedy-the death of Star Brandon Lee. The loss of an undeniable talent that became too early – under incredibly similar circumstances – the narrative of this film literally changed as well as the loss of Hutchin's “rust”.

If we were able to freely observe “rust”, it would only be another western. A good one grants; Not a real classic, but included and well presented. Like many Western, it is a Saga of Machismo because survival -sized men tear themselves across the American border and put away from those who oppose them. When they are heroes, they feel bad at the time. If you are antiheros, you feel bad afterwards. If you are villain, you don't feel anything.

“Rust” star Patrick Scott McDermott (“Goosebumps”) as Lucas, a teenager who raises his younger brother after her parents' death. He is at the end of his rope, cannot take care of his relatives and accidentally begin a feud with another farmer. When Lucas tries to shoot a wolf and accidentally kill the farmer, the law explains that it could not be a coincidence. Despite his delicate age, Lucas is sentenced to hanging.

In Lucas' life, Harland Rust (Alec Baldwin, who wrote down history), wanders, an aging Gunslinger with a famous story of the robbery, arson and murder. He breaks Lucas out of prison and escorted him from Wyoming to the Mexican border because he is Lucas' alienated grandfather. They don't understand each other because of course they don't. You cannot have two protagonists who cross the country for two thirds of a film if you love the company's society. That is script 101.

Lucas and Rust have a bounty on their heads and it is a big one, so they are hunted by every bounty hunter in the country. There is the gently spoken, dark preacher (Travis Fimmel), the tortured Lawman Wood (Josh Hopkins) and a crack of unforgettable, smaller characters that don't take very long. Prediger and wood represent a kind of yin and yang, the hideous opportunist and the oppressed do-gooder, both undertake in their place in one place that can only be referred to as legalized murder economy.

The western genre typically takes place on the edge of the well -known civilization, where rules are bent and broken, and people live from their mind and their crap if they live at all. It is a genre that is susceptible to survival -sized caricatures, to which even complicated figures in a film like “Rust” are complicated in the folklor quality of the film. The cinematography of Hutchins and CLINE makes a great contribution to the justification of the stubborn storytelling by the author and director Joel Souza, but it is difficult to ignore the tendency of the film to exceed every hand. The core of the dialogue is serious in its articulation and leaves history less response than is likely.

On the other hand, the resonance of “Rust” does not quite come from its history. “Rust's” sadness, guilt and grief are reinforced by the unfortunate fact of the film's own existence, the tragedy that took place in the middle of production. Let us be clear: it can't do it better. The implication is creepy. But it has an influence and leaves the film with an aura that is unstoppable. “Rust” is about death, it's about grief, it is about collateral damage.

That's what the action is about.