Gli ultimi fuorilegge

An Irish man who want to make profit with money. Then outlaw takes place under and threatened local people for reform church. Local preacher's want always peace and later death toll rises continuous. Now dutch gang continue murder opposition. Irish undertaker name Patrick decide whether he goes with bloody money or to save family from threatning.

This is a Western with an element of horror.

You can feel the fear of the main character in his dealings with the trio of villains. Many of the scenes happen after dark and the ground is always muddy. Several times we see the people who were killed by the trio having their bodies washed by the undertaker and lowered into a grave.

Not a bad western, a bit different than most. Worth a watch.

I don't think this movie got a wide release as i only found out about it browsing Google for lesser known new movies. It's beautifully shot with a cool grim tone throughout and everyone delivers a strong performance. Emile Hirsch is an actor who i've always thought should have been a bigger star, he's great in movies like Killer Joe and In To The Wild, he can easily lead a movie. John Cusack leaves a strong impression as i don't recall seeing him playing a bad guy before. He's cold and obviously has no care for anyone but himself, he will kill you if he feels like it at the time or he might not, he's unpredictable. It's also refreshing to see a western based around an undertaker. Most westerns have one but they're mostly a side character or less. It gives the movie a more down to Earth and realistic feel which i really like. Definitely an underrated movie, go see it.

I guarantee you've seen this story before - a good man who either abhors or has renounced violence forced to take up arms so as to protect the innocent from a villain. You can find it deployed in westerns such as L'uomo che uccise Liberty Valance (1962) and L'ora della furia (1968), and in genre films as varied as Collateral (2004), Death Sentence (2007), and John Rambo (2008). Filmed in Connemara (standing in for Oregon), this third feature from writer/director Ivan Kavanagh is the latest to roll out that narrative template. And really, there are next to no surprises in Never Grow Old - chances are everything you think is going to happen does happen. However, this isn't really a criticism. The film wears its predictability like a badge of honour, and Kavanagh is obviously a huge fan of violent revisionist westerns such as Il mucchio selvaggio (1969) and Bone Tomahawk (2015). The script isn't going to be winning any awards for originality, but the film has been put together with undeniable craft. It's bleak, gritty, and despairing, and whilst it won't change your life, it is rather enjoyable.

Oregon, 1849; the town of Garlow is the last stop on the California Trail prior to reaching the Rocky Mountains. Although Sheriff Parker (Tim Ahern) is nominally in charge, Garlow is really governed by the local Methodist preacher, Pike (Danny Webb), who has forbidden alcohol, gambling, and prostitution. The town's mild-mannered undertaker, Irish immigrant Patrick Tate (Emile Hirsch with an Irish accent that wavers mid-sentence), isn't especially interested in Pike's hellfire sermons, but he converted from Catholicism because it was important to his wife, French immigrant Audrey (Déborah François). Living on the edge of town with their two children, they plan to leave Garlow at some point but are in no major rush to do so. That plan becomes complicated when three men - Christopher 'Dutch' Albert (John Cusack, having an absolute blast), Dumb Dumb (Sam Louwyck), who carries his severed tongue with him, and Sicily (Camille Pistone), an Italian immigrant who doesn't speak English - roll into town looking for Bill Crabtree (Paul Ronan), who left Garlow several months prior, although his wife (Anne Coesens) and daughter Emily (Manon Capelle) are still there. Stating that Crabtree stole from him and must be killed, Dutch browbeats Tate into bringing the trio to his home and having Audrey cook for them. Seeing Pike's decrees as an opportunity, Dutch procures a group of prostitutes and reopens the town's saloon, killing anyone who crosses him. With his undertaker business thriving because of the spike in violence, Tate stays out of the situation as best he can, although Audrey is disgusted that he's prospering because of Dutch's actions. Soon, however, Tate's family will come under threat and he'll be forced to decide what he must do.

Thematically, the idea of paradise awaiting us in the next life, specifically the notion that the afterlife will be a lot better than our earthly existence, is alluded to throughout the film, mainly by Pike, but also by Audrey, and even Tate and Dutch on occasion (although Dutch references it ironically). And it's really not too hard to imagine a better life than the one Kavanagh presents in Garlow, which is literally a one-road town. However, this isn't the parched, dusty environment of beige, yellow, and light browns that we're all used to seeing in westerns. Rather, it's bleak and forlorn; the buildings are dark brown, almost black, the clouds hardly ever part, it rains a lot, and the road itself is nothing but mud, with Aza Hand's sound design emphasising the squelching of the characters' steps. To compound this sense of squalor, most of the film takes place at night, with cinematographer Piers McGrail occasionally using only one practical light to illuminate an entire scene. This necessitates that characters drift in and out of the shadows, which adds an extra element of danger to Dutch and his men. The life of a European in the Americas of the 19th century wasn't easy, and one of the film's most successful elements is in showing us some of why that was.

Never Grow Old has the structure of a morality tale or a Mystery play, looking at issues such as religious hypocrisy and self-righteousness and the harsh life of European colonisers in the Americas. It even takes time to briefly address the genocide of Native American people, with Pike sermonising about how the colonists saved the land from "savages". The most obvious theme, however, is greed. Tate, for example, is complicit with Dutch's violence insofar as he accepts and ignores it, even profiting indirectly because of it. Audrey is utterly disgusted with this, and she regards their newfound financial prosperity as nothing short of evil. Several of the town's more religious folk think the same thing, and there are multiple references to Tate getting his "30 pieces of silver". Indeed, a recurring motif in the film is to cut from Dutch killing someone to Tate cleaning the body to placing two coins on their eyes to closing the coffin to burying the coffin, and finally, to hiding his payment away in a tin buried in the house. When we first see the tin, there's little in it, but as the film goes on, it becomes fuller and fuller.

Indeed, the film has several visual moments like this which convey thematic points sans dialogue. The opening shot, for example, shows a tattered American flag hanging on a burnt building, immediately introducing the theme of violence and how life in the Americas was very different from that which was sold to so many before they arrived. In another early shot, we see Pike preaching to a packed church. Later, however, after Dutch has reopened the saloon, we again see Pike preaching, but this time to an almost empty church, which, of course, makes reference to the dwindling church attendance that we're seeing playing out today. Another nice visual touch, this time in John Leslie's production design is that the saloon is directly across the road from the church, symbolising the battle between these two forces (hedonism and piety) that continues to this day.

In terms of problems, the script isn't exactly original, with every character an archetype we've seen in many other films. Additionally, the slow-burn pace will put some people off. As mentioned, Emile Hirsch joins a venerable list of actors who have completely butchered the Irish accent; everyone from Tom Cruise to Tommy Lee Jones to Val Kilmer to Brad Pitt. Hirsch isn't as bad as any of these, but his tendency to drop in and out of the inflections on a word-by-word basis is distracting. Another slight issue is that towards the end of the film, Dutch starts reading from the Bible, quoting Revelation 19:17. It's more than a little on the nose, and really, a villain quoting Revelations is itself a cliché.

Overall, however, I enjoyed Never Grow Old far more than I expected. It's bleak and gritty, rough-edged and nihilistic, but it's very well made, with some nicely conceived visual shorthand. An uncompromising look at the harshness of frontier life in the 19th century, the film suggests that stoic individualism is no substitute for a vibrant community, and is as thematically dark as it is practically dark. A morality tale in all but name, there's nothing here you haven't seen before, but Kavanagh handles the genre elements well and has made a rather enjoyable film.

If your looking for a good quick western this is good. Kids characters i think weren't written for the day but that's it. I dont know why this is rated by viewers so low. Currently at 5.8, not a must see but not a 5.8 either.