6.1 | / 10 |
| Users | 0.0 | |
| Reviewer | 3.5 | |
| Overall | 3.5 |
A boy left to fend for himself and his younger brother following their parents' deaths in 1880s Wyoming goes on the run with his long-estranged grandfather after he is sentenced to hang for the accidental killing of a local rancher.
Starring: Alec Baldwin, Josh Hopkins, Patrick Scott McDermott, Travis Fimmel, Frances Fisher| Western | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.38:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 5.1
English SDH
Blu-ray Disc
Single disc (1 BD)
Slipcover in original pressing
Region A (B, C untested)
| Movie | 2.5 | |
| Video | 4.0 | |
| Audio | 4.0 | |
| Extras | 0.0 | |
| Overall | 3.5 |
In 2021, cinematographer Halyna Hutchins was killed on the set of “Rust,” shot with a loaded weapon in a horrible accident that sent shockwaves throughout the film industry. There’s been headline news, lawsuits, and even a crude documentary released just month (“Last Take”), and now, surprisingly, there’s an actual feature. Cast and crew set out to complete the movie years after Hutchins’s death, a production push eerily reminiscent of 1994’s “The Crow,” which also carried on after a tragic loss. Now a completed picture, “Rust” makes it to release, hoping to offer cinematic artistry and a thought-provoking story, as writer/director Joel Souza endeavors to realize his vision for a decidedly “Unforgiven”-esque tale of violence and the corrosive effects of such living on those who choose darkness. There are obvious challenges when watching the effort, especially getting past its real- world horror, but Souza also doesn’t make a very compelling offering, taking an exceptionally long time (140 minutes) to stew in mental illness, which doesn’t hold much dramatic power.


The visual presentation (2.38:1 aspect ratio) for "Rust" deals with a film that has the tendency to get incredibly dark at times. Delineation is satisfactory, making sense of evening events and the feature's love of shadowy imagery. Detail is acceptable, exploring all kinds of weathered faces and battered characters. Skin particulars are clear, along with the textures of facial hair. Costuming explores fibrousness on period outfits, many favoring thick, heavy material. Interiors maintain depth, visiting living spaces and community places, securing decorative additions. Exteriors sustain dimension, as the movie offers plenty of big outdoor travel shots that reach quite far. Color maintains its intent, favoring a drained appearance, almost sepia- like at times. Stronger hues with blood and Native American appearances register as intended, along with greenery. Compression has its struggles, with banding periodically detected.

The 5.1 DTS-HD MA mix provides fresh dialogue exchanges, maintaining dramatic intensity and hushed encounters. Scoring supports with authority, delivering crisp instrumentation and emphasis. Surrounds maintain activity with musical moods, and atmospherics are appreciable around community gatherings and nature displays. Mild separation effects are present. Sound effects are distinct. Low-end supports violent encounters and musical power.

To the surprise of no one, there is no supplementary material on this release.

Souza doesn't manage subplots with ease, finding Lang's journey almost an afterthought in the final cut. His scenes don't work (including a tryst with a lonely widow), contributing to maddening overlength that's completely unnecessary, especially when there isn't much more to the tale than mournful moments and passes at frontier poetry. Performances are acceptable (Frances Fisher shines bright in a small role as Jacob's great aunt), but Souza doesn't have dramatic momentum, and the picture doesn't build to an explosive conclusion (even with gun battles), or a profound one. It simply remains gloomy and inert. Maybe this is the only way forward for "Rust," as most viewers will come to the picture to see Hutchins's work (co-credited with reshoot cinematographer Bianca Cline), which oddly keeps visuals in the shadows, making darkness the star of the endeavor. And perhaps that's the way it should be.
(Still not reliable for this title)

1936

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