Shérif Jackson

SWEETWATER is a nicely-done noirish parody of the old spaghetti western. Plot-wise, it's rather predictable, without many big surprises, but it keeps your attention and incorporates steady humor without turning into a complete slapstick joke. Best of all are the very colorful cast of characters: Crazy charlatan cult leader; beautiful, now-married former prostitute who's out to settle down and lead a quiet, simple life; unstable yet nobly maverick sheriff; perverted clothier; and a whole bunch of sheep who contribute a great deal to the story (really, they do).

Intelligently simple entertainment--nothing to be taken too seriously. Great performances by Ed Harris (sheriff) and January Jones (former prostitute).

January Jones plays the main lead in this and she is really great in this. Ed Harris also has a blast and the movie overall is a nice addition to the western genre. It has all the right ingredients (with added female nudity, which isn't something that is a given of course) and was obviously fun to shoot.

The movie itself which was playing at the Fantasy Filmfest in Germany when I watched it, is predictable because of the known story line (even without me saying where this is going, you'll see it coming from a thousand miles). But the fun you can have with it, is still there, especially if you have a soft spot for Western movies in general

This western is good because it has simple details of everyday menial experiences brought into magnified observation like the Coen Brothers and Quentin Tarentino incorporate into their films that people personally identify with. Very good writing and directing. The character behavior is realistic for the period with a unique cast of established actors that have a track record of rolls in unusual movies similar to No Country for Old Men. January Jones, Ed Harris, and Mr. Root, the judge, from Justified, add the quirky features you will find worth your time. This is a no-nonsense simple story of detective work with refreshing deviance from stupid Hollywood fare.

when you watched this film. there were many gibberish mambo-jumbo religious crappy monologue or crazy enough talk-to-himself murmurings. and the directing was also quite weird as the film itself. there was an usual cunning vicious and violent religious bully who thought all the vast land was his lord and his own property. he committed murder after murder under the name and excuse of the lord and at the same time whenever he reached the climax when he screwed his female followers, he also praised the lord for his ultimate pleasure(guess why all the men and women would cry out in unison 'oh, my god, oh my god' is indeed a Christian mantra during intercourse or love-making?)

this is a very weird movie, an out-of-the-box very unconventional western, at times funny and ruthless, sometimes clueless and ridiculous. but what made this film above the cheap low budget western genre B movies was 1) most of the actors did great jobs and performed so well that didn't give you a cheap feeling of the average tasteless low budget and disgusting modern day western B movies; 2) the great cinematography of the camera, the wide angle wildness of the landscape, the beautiful light setting control. just by watching the glamorous camera works would worth the money and earned at least 8 stars; 3) although the screenplay was a bit over the top ridiculous, but still quite watchable, good enough to anchor your fat buttocks firmly on the seat to the end. again, a weird mindless clueless absurdity sometimes is not a bad idea.

This dull yet extremely violent mythological western takes us to a middle-of-nowhere version of 1880s New Mexico: space and locale aren't very clearly established. Out in the desert, a pompous cleric-- who more than that is power-hungry and totally mad and evil -- whose local followers call him "Prophet Josiah" (busy and versatile English actor Jason Isaacs) comes upon two young men camping on what he says is his (and therefore God's) land. They are roasting a sheep, which he also says is his. Though they say they're connected to the governor of the state, he stabs one to death and shoots the other as he attempts to flee. This is how things go in this movie, interlaced with scenes of forced sex and verbal provocation. Like all the killings that are to follow, these are shocking, but leave us unmoved. This film is stylish, but pointless.

Later a similar fate befalls a Mexican-born farmer, Miguel Ramírez (Eduardo Noriega) whom Josiah, a thoroughgoing racist, also does not like, and therefore kills. Miguel's reformed prostitute wife Sarah (January Jones) comes looking for her husband, and eventually will realize Josiah's guilt but will kill not only eventually him, but a venial voyeur shopkeeper and various minions of Josiah. All this has been complicated early on by the arrival of the provocative, canny, also rather mad Sheriff Jackson (Ed Harris with long white locks and a long pale blue coat with plaid clown paints). In the end, there is a series of killings by Sarah mostly, with a traditional shootout, but not much suspense. Might it be that New Zealander Andrew McKenzie, whose story is the starting point, was under the sway of Cormac McCarthy's novels? The adapted screenplay is by the Marin County, California twins, Logan and Noah Miller, who worked with Ed Harris before on their debut film Touching Home, but Logan is listed as the sole director this time around.

Ed Harris has fun with his role, enjoying Prophet Josiah's good food and then stabbing his nice mahogany dining room table with his own big murderous knife to illustrate his suspicion that Josiah has killed the two young men; and every so often doing a sprightly dance that is quite nutty and belies the age suggested by his grizzled beard and silvery locks. January Jones, Don Draper's prim, then adulterous, wife in the Sixties advertising TV series Mad Men, brings a certain cool dignity to her role, but she seems too pure to have been a whore, and her wrath hath not enough fury in it.

In France where this was presented under the title Shériff Jackson, the theatrical release was "Forbidden to under 12 years." Figaroscope, whose critic liked it a lot (it got an overall Allociné press rating of 3.0), said it "refers as much to Tarantino as to Peckinpah." Actually despite some mildly ornate dialogue this lacks any of the verbal excitement or wit of Tarantino, the terror and suspense of Peckinpah, or the apocalyptic grandeur of Cormac McCarthy. Furthermore the individual scenes don't seem to link together very well and hence not much narrative drive develops. The abrupt ending makes little sense, and leaves one unsatisfied. Some moments are exploitative or vulgar. Prophet Josiah uses women sexually right and left; some scenes suggest the filmmakers are thinking of There Will Be Blood. In fact there are many influences, none integrated fully.

Sweetwater, 95 mins., debuted at Sundance Jan. 2013 and in the summer was released on DVD in the UK and Japan. Theatrical release in the US and France 9 Oct. and the US 11 Oct. It has done less well with US than French critics: Metacritic rating: 38. Todd McCarthy's assessment (no relation to Cormac) for Hollywood Reporter: "The Old West is portrayed as a venal loony bin in Sweetwater, a handsomely designed, occasionally funny but ultimately empty female vengeance yarn." Bill Graham's lead on twitch also rings true: "Sweetwater isn't easy to enjoy. For such a spare and tight film, there seems to be a lot of dead air. " He attributes that to a failure to integrate separate narrative lines. Screened for this review at UGC Odéon, Paris.