“Horizon: An American Saga – Chapter 2”. The film is part of a four-part series directed by Kevin Costner. Unfortunately, the latest installment received poor reviews and disappointing box office numbers upon its U.S. release in July.
The review points out that the movie suffers from similar issues as its predecessor, such as too much setup and not enough payoff, uneven editing, and cliché production values. Despite these drawbacks, the critic found “Chapter 2” to be more enjoyable than the first installment, possibly due to prolonged exposure to the “Horizon” series, which may have led to a form of cinematic Stockholm syndrome.
The review hints at the potential for increased engagement with the storyline, particularly highlighting the female-driven plotlines involving characters like Frances Kittredge and her daughter Lizzie. The challenges faced by these characters, set against the backdrop of the Wild West, seem to have caught the reviewer’s attention and provided some appeal amidst the film’s shortcomings.
The review also touches upon the hope for the film to win over more viewers and generate sufficient revenue for the production of the two concluding movies in the series. Despite the odds, the amplified focus on the female-driven stories in “Chapter 2” seems to offer a glimmer of promise for the future of the franchise.
Chapter 1 showed a credible attempt to represent indigenous perspectives, but in the following sections, there is minimal representation of the indigenous characters. However, young Sacaton becomes a key figure, forming a secret friendship with Lizzie and sharing Native nature wisdom.
The focus on representing otherness shifts to the Chinese community, led by Mr. Hong, his mother, and daughter, who arrive in Horizon with plans to start a tea house and sawmill.
Another story strand follows a wagon train led by Matthew Van Weyden, with a focus on the challenges they face on the trail, including a disturbing incident involving nefarious individuals.
Owen Kittredge’s daughters, particularly Diamond, play a significant role in helping Juliette, a victim of a heinous crime, find a way to free herself from her tormentors.
Meanwhile, the plot follows Costner’s character, Hayes Ellison, as he becomes involved in breaking horses at a trading post and faces new challenges.
The characters in the show adhere to traditional archetypes, such as the patient noblewoman, the troubled gunslinger, the dignified Black lieutenant, and the straightforward matron. However, the script, crafted by Jon Baird and Costner, strives to imbue these characters with depth and complexity whenever possible.
Additionally, the dialogue is peppered with authentic 19th-century American slang, offering occasional moments of eloquence that capture the essence of the era. While some lines may come across as overly affected, others prove to be quite memorable. For instance, the line “This country is longer and crueler than anybody knows,” delivered as a voiceover, resonates deeply and echoes the powerful imagery found in Louis MacNeice’s poem “Snow,” which describes the world as “crazier and more of it than we think / Incorrigibly plural.”
In terms of technical contributions, J. Michael Muro’s cinematography stands out once again, capturing the rugged beauty of the Utah landscape with its bold light and earthy tones. Furthermore, Lisa Lovaas’ costumes are exquisite, exuding a modest prairie aesthetic. If only the series had been a streaming show, it could have propelled block-print calico and intricate smocking details to the same level of popularity as the Empire-waist gowns and statement sleeves showcased in “Bridgerton.”
