Synopsis: “Natalie Portman is Jane Hammond, a frontierwoman who enlists the aid of a disgruntled former flame (Joel Edgerton) when a rowdy gang led by a ruthless but charismatic killer named John Bishop (Ewan McGregor) plots to axe her outlaw husband (Noah Emmerich). Using a combination of her feminine guile and a sudden disposition for weapons and explosives, Jane must fight off the clan of invading Bishop Boys while also coming to terms with the losses in her past that have made her the woman she is today.”
Review: Jane’s Got a Gun saw its (un)fair share of production woes on its trot to cineplexes, where it was unduly dumped by the Weinstein Company with little to no marketing and even less faith in the product. A certifiable dud on arrival (Jane’s Got a Gun saw The Weinstein’s worst ever wide release), the decades-spanning Western is a product of some shame and dismay, considering the undeniable fact that the ingredients are there – a dedicated Natalie Portman, a proven entity in Gavin O’Connor (Warrior) behind the camera, a compelling feminist bent to a traditionally male dominated genre – but is displayed in such mangled form and with such careless abandon that it’s hard to summon even the quaintest of positive feelings for this hatcheted final product. In theory, the pivot – to center focus on a woman in a cinematic landscape that has historically seen them marginalized and exploited – is one that could prove to be thematically rich but a convoluted script and tacky editing render Jane‘s exploits moot. Facing severe pacing issues and grappling with an inability to ever truly ignite, Jane smothers its winning aspect in a bath of meh. O’Connor’s direction is indistinct and forgettable even when some moments do manage to pop. (C-)
Features: There are literally no features. As in none. No audio commentary. No cinematic trailer. Just nada.
Trailer:
Verdict: Skip it unless curiosity gets the best of you, as it did me. If that’s the case, a rental will more than do the trick. With no special features and almost no reason to ever watch it twice, it’s definitely not a purchase.
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By: Matt Oakes
Started blogging about film in college when the university paper wouldn’t have him. Dislikes your consensus film Twitter favorites. Devotee of horror movies that make him die a little inside. Catches films at festivals when he can. Proud SFCS and OFCS member and Tomatometer-approved critic. Editor-in-chief of Silver Screen Riot.
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