Film Review: ‘In A Valley Of Violence’

A strong cast led by Ethan Hawke buoys a familiar feeling western.

From the outside looking in, it seems fairly easy to make a decently enjoyable western film. The basic plot structure and stock characters have become so ingrained in popular culture that any new addition to the genre can feel pleasantly familiar, even if it may not be remembered as particularly remarkable. This is the feeling one has after seeing In a Valley of Violence, the new western directed by Ti West and starring Ethan Hawke, a film that while checking off all of the traditional western boxes, rarely complements them with anything particularly fresh.

The film tells the story of a drifter named Paul (Hawke) roaming the American Southwest on his way to Mexico, running away from his past with his trusted canine sidekick Abby. When he and Abby find themselves crossing through Denton, a largely abandoned mining town, Paul quickly finds himself in a physical altercation when one of the town marshal’s deputies, Gilly (James Ransome), threatens his beloved dog. While the outburst endears him to a chatty local teenager named Mary Anne (Taissa Farmiga), he makes enemies with both Gilly and his father (John Travolta), the town marshal. Yet when Paul’s attempts to abandon the town and live a peaceful life are tragically hijacked, he’s forced to return and take bloody vengeance on those responsible.

While there’s nothing inherently wrong with this familiar plot, the film at times feels like it’s yearning for more to be done with these elements. For a film working off such a clear, established plot structure, the movie suffers from some pacing issues especially in its first half, which seems to amble from scene to scene without momentum. Only when Paul begins his quest for vengeance does the film seem to fully engage with the western spirit. It’s also during this back half that the film often takes on a more comically manic energy in its final showdown, which provides a much-needed sense of liveliness to the proceedings. Additionally, given the rich history of western cinematography, Valley feels visually lacking, never appearing to utilize the natural landscape or portray Denton as anything but the umpteenth “western ghost town” set put to film.

Perhaps the film’s most consistently enjoyable element is the strong work done by its cast. As the central drifter, Hawke offers his character a compelling and soulful weariness, making the character’s transition towards desperate rage feel all the more compelling. Travolta is also a lot of hammy fun as the town’s unexpected voice of reason and Karen Gillan makes the most of a small role as Gilly’s fiancé, enlivening the film every time she’s onscreen. The only weak link is Ransome’s work as Gilly, who despite being positioned as the film’s central baddie, never feels like a proper counterpoint to Hawke’s more developed character. Overall, the film comes off as a respectful modern entry to the western drama genre, but ultimately one that’s only a necessary view for fans willing to accept the familiar story beats.