The Old Way is a Western done passably well, but with enough flashes of originality that its reliance on well-trod tropes feels extra disappointing. agracru's review:
films, among others. “Trope” isn’t a dirty word, of course, but tropes only work as well as people deploy them. Donowho constructs a unique hook in the way Briggs and Brooke relate to one another: They’re sociopaths ahead of George E. Partridge’s time.
“My entire life, even as a boy, I knew,” Briggs confesses to Brooke by firelight, about an hour into the movie. “I knew I was different.” Cage reads the line with a begrudging surrender, pushing melancholy together with self-reflection. He didn’t cry as a baby. He learned how to mask his impassivity as a kid. He grew up into a stone cold murderer, cut from the same cloth as’s Saint of Killers, as mean as a rattlesnake and three times as deadly.
Donowho rightly affords Le Gros sufficient screen time to fill out his character’s grudge against Briggs. But the movie asks Le Gros to spend much of that time sneering from behind his beard instead of making James a fully realized man on par with Cage’s Briggs. At the same time, Briggs is also over-mythologized through rambling exposition delivered by Marshall Jarret . It’s a ponderous task of dubious worth that soaks up too much of Donowho and screenwriter Carl W. Lucas’ material.
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