The Homesman (2014) User Reviews

Leave your vanity at home for this western journey

[Ed-Shullivan · 7/10 · 11 May 2015]

I enjoy a good western but it would not be fair to this Tommy Lee Jones production to classify it as such without emphasizing the film is more than just a wagon trail journey of two unlikely characters across the rough and unforgiving western terrain. No, it is the story of two unlikely characters, a single and strong willed farmer named Mary Bee Cuddy played by Hilary Swank and a thieving drifter named George Briggs played by Tommy Lee Jones who agree to transport three women by wagon with real psychiatric (madness) problems from Nebraska to Idaho.

There have been hundreds of relatively good westerns produced in the past half century where the hero and heroine remain strong and stoic whilst riding through the barren lands their suits and dresses remain pressed and in pristine condition while their hair is coiffed perfectly, and miraculously the heroine's makeup never dries, cracks or runs. Well such is not the case in the Homesman.

Hilary Swank has never been afraid to shed the glamor of Hollywood and for her role as the stubborn, single, and capable farmer Mary Bee Cuddy the potential suitors that she asks to marry her turn her down and explain that she is far too plain looking, sexless, and too controlling in nature. So Mary Bee Cuddy agrees to make the arduous journey across the western plains maybe in the hope of finding a suitor in Idaho as she has run out of potential suitors in Nebraska and seems to be losing hope in raising a family on her own farm in Nebraska.

As Mary Bee Cuddy commences her journey she comes across someone even more homely and desperate than herself in the name of aging drifter George Briggs who is within minutes of losing his life at the end of a rope for illegally claiming mining rights to another persons staked property. The terms set forth by Mary Bee Cuddy before she will agree to free George Briggs from his futile situation and imminent death by hanging are simple. He must first agree to travel across the western plains of Nebraska to assist Mary Bee Cuddy in the transportation of three insane women to a church in Idaho where they will receive the care and attention they will require to survive.

And so the two hardened caretakers and their three insane passengers set out on their journey which I found to be not like any other western I had previously seen. This is not a humorous and light hearted western but a tough, grueling, and sad journey with what I was surprised provided unexpected results. Some people may not be happy with the last 30 minutes of this feature film, but this is actually where writer/actor/director Tommy Lee Jones hooked me with what I felt was a good feature film that ended strongly.

There are numerous cameos throughout the film including standout performances by Tim Blake Nelson as a lonesome cowboy, John Lithgow as Reverend Dowd, and Jesse Plemons as a derelict husband to one of the insane women. Look for mother Meryl Streep in Idaho as the Reverends wife Altha Carter who enjoys sharing the screen with her real life daughter Grace Gummer who plays one of the three insane women Arabella Sours.

I give the film a good 7 out of 10 rating.

Tommy Lee Jones stars, writes, directs, produces & astounds in this journey through trust & the Wild West. Splendid!

[TheSquiss · 8/10 · 3 December 2014]

I need to get something off my chest: I'm not a fan of Tommy Lee Jones. I find him limited in range, much the same in most roles and, worst of all, he inexplicably won the Best Supporting Actor Oscar for The Fugitive, thus depriving Pete Postlethwaite for In the Name of the Father, Leonardo Di Caprio for What's Eating Gilbert Grape and Ralph Fiennes for his performance of pure evil as Amon Goeth in Schindler's List. In modern parlance, WTF?

But periodically, just occasionally, once in a while, he inhabits the screen in a manner that forces one to reconsider one's judgment. And so it is with The Homesman.

The Homesman is something of a surprise, and not just because Tommy Lee Jones is on remarkable form in it. Beyond a fine performance, the man writes, directs and co-produces it. Hell's bells, when did he become so damn good at everything?

In the bad old days of the pioneers in the Wild West, Mary Bee Cuddy (Hilary Swank) steps in when three women drift into various states of madness and need to be transported across the country to be cared for properly. Shunned by their husbands, denied help from the town's menfolk and at a time where rape and murder hides behind every outcrop of rock and every gnarled cactus, Cuddy sets off alone on her hazardous journey. She stumbles across George Briggs (Tommy Lee Jones), a drifter seated atop his horse, with a noose around his neck, waiting for his steed to grow bored and leave him hanging. Literally. Cuddy offers to save him on the condition that he accompanies her and so begins a particular kind of journey.

The Homesman is probably described by many as a western, but that's lazy. This is a road movie on horseback, a saunter across the plains, a journey through mistrust and emotions where a mistake or misplaced trust will result in death. It is a story of hope and love, not the romantic kind, but real love for one's fellow human being, regardless of whether they can, or will, reciprocate.

Shot beautifully with sprawling, dusty vistas that warm the heart and prickle the nape, the backdrop is a vast canvas of character and mystery upon which splashes of colour are smeared in the shape of wandering, human dangers.

Though they say little, the trio of women (Grace Gummer, Miranda Otto and Sonja Richter) are far more than peripheral characters or the MacGuffin; they are the substance that binds The Homesman and the reason for the drama, gentle though it is. As we saw in Mr. Turner, such characters can so easily become pantomime animals with over performance that slaps the viewer in the face and detracts from the whole, of which they are but a small part. Not so here. Grace Gummer, particularly, as the mostly mute but vacantly animated Arabella is terrific and we want to reach into the screen and gently push her back towards sanity. It is a beautiful, understated performance that remains in mind long after the event.

Tommy Lee Jones and Hilary Swank make a surprising double act but the chemistry is there in abundance. Both Cuddy and Briggs carry their own needs and daemons with them; neither would give the other a second glance ordinarily but circumstance prompts odd, emotional couplings and theirs is fraught with suspicion and obligation. It is fantastic to see Swank back to the form that brought her gongs and made us sit up and watch in Boys Don't Cry and Million Dollar Baby. This is a far less demonstrative performance, but no less steely or impactful because of it.

Tommy Lee Jones's performance is the most compelling, engrossing that I can recall. Beyond that, his direction is worth celebrating loudly. The Homesman is only his second feature as director (after 2006's wonderful but little seen The Three Burials of Melquiades Estrada) but there are hints that he may step into Clint Eastwood's shoes alongside Ben Affleck and Sean Penn. Just when we think we have the measure of this tale, he belts us sharply around the jowls, proving he has the mettle to surprise and shock us out of our complacency.

Maybe, after years and years of apparently coasting, broodily on film and staring into space, it will transpire he was merely absorbing, waiting for the moment to own both sides of the screen and captivate us.

You know what, maybe he's always been this good but I just didn't see it.

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Bleak But Bountiful

[3xHCCH · 7/10 · 19 December 2014]

December 19, 2014

A homesman is someone tasked to bring people back to their homes. In this film, the people that needed safe transport are three mentally- disturbed women. Mary Bee McCuddy, a plain but hardy spinster, volunteered to be their homesman. Along the way, she rescues a old man Thomas Briggs from being hung by vigilantes and conscripts him to help her with her mission in exchange for saving his life. Together, they gather the three ladies and escort them from Nebraska homes across the dangerous Midwest prairie to a safe haven in Iowa.

Hilary Swank is an actress who had already won a couple of Oscars for playing strong women who had taken on masculine roles in life -- Brandon Teena in "Boys Don't Cry" and Maggie Fitzgerald in "Million Dollar Baby". As Mary Bee McCuddy, a pioneer lady who bravely accepts a task only men are expected to do, Swank again goes on the same award-baiting path. The movie worked so well when Swank was on screen. She was absolutely compelling in this offbeat role as if this was written with her in mind. The movie was not the same when her character was not there.

Tommy Lee Jones is one actor who, as of late, had seemingly been confined to playing curmudgeonly and cantankerous old men, and his Briggs here is not any different. This film is only Jones' second directorial effort since his critically-acclaimed debut in "Three Burials of Melquiades Estrada" back in 2005. As director, he was very generous to his lead female star Swank, and always gave way to let her shine. As actor, he does consistently as he is expected but this role of a grumpy old outlaw seems too familiar for him already. He wisely played Briggs with some self-deprecating humor to break the tendency of the story to become monotonously bleak.

There were some remarkable cameos from other award-winning or nominated stars in much smaller roles. John Lithgow is his usual capable self playing the Reverend Dowd who reluctantly sends McCuddy off on her task. Hailee Steinfeld plays 16-year old Tabitha Hutchinson to whom Briggs offers a surprising proposal. James Spader, in his usual over-the-top style, plays condescending hotel owner Aloysius Duffy. And last, but definitely not the least, none other than THE Meryl Streep plays perfectly kind and hospitable Altha Carter, who runs the institution in Iowa the women are headed for. These actors appear on screen for only ten minutes or so, but they leave a lasting impression.

The narrative may have been slow and desolate . However, the unusual situations, disturbing imagery, startling story developments and committed performances by the cast all keep our attention riveted. The cinematography with the muted colors worked well with the windswept landscape of its setting, as much a character in itself. The costumes and production design rang true to its mid-19th century time period. The haunting and unsettling musical score create an atmosphere of bitter emptiness. The insufferably miserable topic is clearly not for everyone. But for those who decide to give it a chance, the rewards will be satisfying. 7/10.

Very good western

[Wizard-8 · 16 March 2015]

I really liked the western "The Homesman", but I strongly suspect that it won't be to everyone's taste. And I will admit that even this die hard fan of westerns didn't find it a perfect movie. The opening thirty minutes of the movie, for one thing, are somewhat confusing with some details, though eventually everything comes together and the audience knows what's been going on. And after that first thirty minutes, the movie continues to test the patience of viewers by being quite slow moving and long (the movie is over two hours long.) But I stuck with the movie despite all those things, and I feel I was rewarded in the end. The atmosphere of the movie feels extremely authentic, showing many of the hardships life in the wild west gave many people. Though the story is slow-moving, there are a number of interesting vignettes along the way. And you probably won't predict what eventually happens - the major plot turn around the two-thirds mark really took me by surprise. The last scene is a little unclear as to where one of the characters is headed, but it is memorable all the same. As I said, the movie is not for all tastes, but western fans who are in a patient mood will likely embrace it despite its flaws.

a dark bleak, grimy Western with soul and strong performances

[Quinoa1984 · 7/10 · 25 March 2015]

The Homesman, about a 31 year old (un-married/childless) woman (Hilary Swank) who takes up the challenge of bringing three crazed women across the Nebraska plains over five weeks with the help of a deserter-drifter left for dead (Jones), is in some ways meant to be a real Feminist Western (with a capital 'F'), and not in the way that a silly work like The Quick and the Dead was with Sharon Stone. Here, it's much more about depicting a time and place that was quite bleak and desolate and, in some spaces, without much hope. Ultimately Tommy Lee Jones, through the novel it's based on, sees a little more light at the end of the tunnel for his protagonist than, say, Eastwood did in Unforgiven. But it's a combination of things it's about, and emotionally the film does work quite well, in particular in the relationship that unfolds between the two leads.

If you're curious to see a western that has the love of the plains of the West visually speaking ala Ford, but has the dark contours of someone like Mann - and added to that those super dirty production designs and character realizations from Spaghetti Westerns - this might be it, at least up to a point. It's so unrelentingly dark in how it looks on at the deteriorating mental states of these women, and the desperation in the journey for Jones and Swanks' characters, that the few moments of humor are rather surprising - and welcome - especially when Jones first appears to Swank on the noose and the horse. It's the kind of scene that shows this actor, well into his 60's and pushing 70, trying something new in a performance (if only for a scene or two).

It's got a cast that is practically distracting for the who's who that shows up, mostly for one scene a piece: James Spader, Tim Blake Nelson, John Lithgow, William Fichtner, Meryl Streep (!) and Hailee Steinfeld (who appears almost to have wandered from the True Grit set to this one). There's so much going for the Homesman that it's a shame the script is uneven, and there's a plot twist two thirds of the way through that is sort of explained but not at all at the same time, and it leaves the film with a gaping tragedy that can never quite be filled. Interestingly, if you watch the behind the scenes on the blu-ray one of the screenwriters mentions the book left things unexplained as well. That might be fine in the book - or perhaps more was explained in other ways - but it still doesn't work, and what Jones goes for in awe-inspiring shots he leaves behind with some muddled story beats.

Nevertheless, The Homesman is a good Western, a solid western digging into the roots of the genre and mixing the unsavory and horrifying (not like a horror movie, just some repellant images at times, but for a point), though whether one will want to return to it like other, better Westerns is another story. It's the kind of picture I can't put down for its artistry, even if things can be looked at more critically, which may explain why it didn't find its way through the End-of-Awards-time (albeit it was accepted at Cannes).

Could've been a masterpiece

[Malgus · 6/10 · 16 March 2015]

Homesman left me with some mixed feelings. I really liked the idea and theme of this movie, but certain aspects of the storytelling are just ridiculous.

The story takes place in 1850s Nebraska where a small community of homesteaders decides to send three mad women to a home in Iowa. Mary Bee Cuddy (Hilary Swank), a seemingly strong and independent spinster, volunteers for the task of transporting these women. Along the way she meets George Briggs (Tommy Lee Jones), a scruffy-looking drifter and claim jumper, whom she rescues from certain death and subsequently recruits to help her complete the journey.

Homesman presents the viewer with rather depressing yet captivating tale of pioneering existence and hardships with particular focus on women. It's obviously something that you don't see very often in an average western.

The main issue with the film is that it suddenly loses momentum by switching its focus from Mary Bee Cuddy onto George Briggs. It's strange because Briggs is inherently far less interesting character than Cuddy; and by essentially promoting him from support role to the lead role, the film undermines its own feminist vibe. As a result the final 30 or so minutes feel like rather lengthy and pointless epilogue. It should be noted that this happens in the novel as well, so in that regard the film stays true to it. Yet it still doesn't make much sense to me.

Another minor issue with the movie can be attributed to the character of Mary Bee. The reason for her personal drama is extremely implausible. The idea that a successful, hard-working woman -- a woman capable of childbearing -- had trouble finding husband due to being "plain" looking, is quite frankly silly. This is almost the exact opposite of what was really going on in that specific period. The fact that many people lost their minds due to harsh conditions is true, but ironically, that is the same reason why someone like Mary Bee could've never been single for long.

In short, Homesman is a movie that gets period ambiance right, but produces a rather disjointed story with bizarre twist. It is still something that is worth watching, in my opinion. Both Tommy Lee Jones and Hilary Swank deliver very impressive performances.

The way things were

[pcrawake · 7/10 · 23 September 2014]

The Homesman, written and directed and starring Tommy Lee Jones tells the story of Mary Bee Cuddy (Hilary Swank) a spinster who takes on the responsibility of bringing three insane women to Iowa where they can be taken care of.

She saves or spares the life of George Briggs (Tommy Lee Jones) and enlists him on her arduous five week journey.

When you see Hilary Swank and Tommy Lee Jones, you know the acting is going to be stellar. The parts of the insane women, Arabella Sours (Grace Gummer), Theoline Belknapp (Miranda Otto), Gro Svendsen (Sonja Richter) because of the great directing remained the focus while being secondary characters. The movie had a Shakespearean feel to it and that is a great compliment. These ladies portrayed insanity, believably and that takes serious dedication and acting ability.

"The Homesman" was a tragedy and because of it, some people might not be able to pallet the story; there were some shocking attention grabbing scenes that the average viewer might not be prepared for. Those scenes, to me, were great examples of a different time, a time when life was hard and people died.

The Homesman is a story that sits with you and makes you thankful for many things, even if it just the shoes on your feet.

Moving and powerful Western , including strong drama along with impressive cinematography and emotive musical score

[ma-cortes · 7/10 · 17 December 2015]

Riveting film about a spinster , a drifter and a peculiar promise , being slickly developed by actor-director Tommy Lee Jones . Starring Hilary Swank returns to the heights of a career that saw her win two Best Actress Oscars by the age of 30 . This is her most recent film , The Homesman in which she starred opposite Tommy Lee Jones , John Lithgow , Meryl Streep , James Spader , among others . Here Tommy Lee Jones's acting and direction are magnificent and remaining cast is pretty well , giving terrific performances . This above average film concerns about a pious , independent-minded woman called Mary Bee Cuddy (Hilary Swank) is assigned by the village priest (John Lightow) to carry three women (Miranda Otto , Sonja Richter , and Grace Gummer , Meryl's Streep daughter) who have been driven mad by pioneer life . They have to be transported across the country by a covered wagon . The two-fisted woman obstinately carries out the dangerous assignment and in turn employs low-life drifter George Briggs (Tommy Lee Jones) to assist her . She forces the drifter for to a journey across the plains to locate the risked destination . Both of whom are determined to find the paths , through the prairies plagued by savage Indians , until the easy civilization . This journey will bring forward the stark contrast between the values of two ways of life and the landscape transversed is both geographical and emotional .

This enjoyable film is a touching and violent Western drama with elevated cinematographic values . The movie realizes an awesome actors reunion , showing the different characters and explores their apprehension , ambitions , fears and circumstances . The two protagonists result to be a pair ¨Quixotes¨ who obstinately undertake a trip whose objective looks to fulfill a pledge by whatever means . The main character George Briggs , superbly played by Tommy Lee Jones, seems to be living resolutely in the past and while the brave spinster wishes to marry him and create a family . Support cast is frankly excellent such as Barry Corbin , William Fichtner , Evan Jones , Jesse Plemons , Grace Gummer , Miranda Otto , and Tim Blake Nelson-James Spader, this duo previously appeared in ¨Lincoln¨ along with Tommy Lee and Hailee Steinfeld's second western after her Oscar-nominated , breakout role in ¨True Grit¨ . And , of course , the great Meryl Streep in her third collaboration with Tommy Lee Jones following "A Prairie Home Companion" and "Hope Springs . Intelligent and thoughtful screenplay by Kieran Fitzgerald , Wesley Oliver and the same Tommy Lee Jones , based on the novel by Glendon Swarthout that was published in 1988 ; in fact , Paul Newman owned the rights for a time, and wanted to direct the film himself , after a number of scripts, he gave up . Sensitive and evocative musical score by Marco Beltrani (Red eye , The Three Burials of Melquiades Estrada) . Special mention for glimmer and fascinating cinematography by Rodrigo Prieto he splendidly reflects the impressive outdoors from the filming locations : Lumpkin , Georgia , San Miguel County , Santa Fe , Oikay Owinger Pueblo , New Mexico . Much of the movie was shot on Tommy Lee Jones's own ranch .

The film is a nice co-production , being produced , among others , by the great producer and director , the French Luc Besson . The picture was compellingly directed by Tommy Lee Jones , being his theatrical directing debut ¨The Three Burials of Melquiades Estrada¨ that won a deserved prize in Cannes , this film bears a remarkable resemblance to ¨The Homesman¨ , dealing equally with a dangerous journey plenty of contrasts , attacks and many other things . His only other directing credits were the TV movies ¨Good old boys¨ (1995) and ¨The Sunset Limited¨ (2011) with Samuel L Jackson and all of them starred by Tommy Lee Jones . ¨Homesman¨ rating : Better than average , though overlong and slow-moving . Well worth watching , it's a must see for Tommy Lee Jones enthusiasts

This is as close as you can to history without being there.

[noskcirenoj · 10/10 · 11 May 2015]

My mother was born in a sod house on the prairie of North Dakota and my grandmother was the town mid-wife and abortionist. Homesteading was hard and demanding and Tommy Lee Jones has captured the the gut-level struggle that came with 160 acres and the nearest neighbor five or ten miles away. It drove those without an iron will to insanity. If you are looking for a shoot-um-up western, this is NOT it, but if you love the history of the frontier, and want to get a feel for its tragedy and day to day fight for survival, this is a great movie. Beautifully filmed, expertly acted, wonderfully scripted, I could not have asked for more. I have never liked Hillary Swank, but this was an incredible performance. Tommy Lee Jones was his beautifully curmudgeoned self. I especially liked the accurate use of period firearms and I will not quibble over the availability of 1851 36 caliber paper cartridges in end of the earth Nebraska Territory nor Ms Swank having a wardrobe of new dresses through out the film. The film accurately captured the ethos of the western prairie and gave me a look and a feel into my own grandparents. Thank you Tommy Lee Jones for a classic.

Good stuff

[menvaffan · 7/10 · 21 September 2014]

This is a great movie which in its offbeat dramaturgy depicts the unpredictability, pointlessness and hardships of life. And it does so with an underlying sense of humor which is almost Kafkaesque and absurd. Don't let the settings fool you –this is not a western flick, it is timeless, and it serves as a tasty, simple snack for the already thinking viewer. All "plotholes" pointed out by other reviewers actually makes sense when thinking about them, and once again kudos to the unpredictable, non-conformant, "non-template-A" storyline and character arcs which should be seen more in film and television.

A little too much use of "fade-in fade-out" in the cutting, a little unrealistic portrayal of mental disease, and a little uninspiring photography IMO actually, but otherwise a great flick for the thinking person. With guns.

Beware! This can suck you in but it collapses disastrously.

[freydis-e · 3/10 · 16 June 2017]

This whole thing is spoilers really – as other reviews demonstrate, if you get to caring about the Swank character, you will be hugely disappointed, even hurt by this and it's one case where it might be worth knowing what you're getting into. It's written by, produced by, directed by and starring Tommy Lee Jones and therein lies the problem.

The start doesn't make a whole lot of sense. A bunch of frontier women (only women) simultaneously go mad and have to be taken back east. Meanwhile Hilary Swank is too 'plain' for any man to marry her. Take a look at her photo on the video cover and compare her with the married women of the community to see how ridiculous that is. Then it starts to build some steam. Her strong character ("You're as much of a man as any man around here," says the local preacher) takes charge and volunteers to do a job which none of the men can handle. She rescues Jones' character from being hanged and, despite knowing nothing about him, forces/bribes him to help her on the journey.

So far this has been pretty good, OK bleak and not always believable but, as usual, Swank's performance is quite brilliant, Jones does his usual uninspiring but solid job and the supporting cast do fine. Jones is directing well too early on, pacing things nicely and building an authentic feel. We have plenty to hope for, a character to care about, and a testing journey in prospect. It all goes wrong when the travellers run across a little girl's desolate grave.

Suddenly and for no reason the Swank character is transformed. She's been boss all along but now she's doing what Jones tells her, bursting into tears, then, absurdly, proposing marriage to this unreliable and somewhat decrepit old man and virtually forcing herself on him sexually. The only explanation: she's crazier than the wagon-load of women she's supposed to be looking after. Next, forgetting her passionately-delivered promises to the relatives of those women, she kills herself. This goes beyond shaky and ridiculous to pointless and unbelievable and we realise that this is not Jones' take on a strong woman, but just another self-absorbed and self-centred vehicle for a writer-producer-director-star. In fact it went wrong earlier than that when the Jones character was introduced. From that point on he shows little interest in the plot or the other characters – everything is there only to provided the foils to his lead.

I wasn't interested in Jones' rather dull and stereotyped playing of a dull, stereotyped character, nor in his self-absorption. I didn't watch any more, wished I'd never started watching in the first place and I hope this will help others avoid the same mistake.

It's a hard film to watch, at times, but definitely worth it.

[Hellmant · 9/10 · 9 January 2015]

'THE HOMESMAN': Four and a Half Stars (Out of Five)

Tommy Lee Jones directed, co-wrote and stars in this western/drama film (set in the 1850s midwest) about a 'spinster' and a 'drifter' transporting three women, driven mad by the hardships of the time, across the country. It costars Hilary Swank, Miranda Otto, Grace Gummer and Sonja Richter. It also features cameos by Meryl Streep, John Lithgow, James Spader, Tim Blake Nelson, William Fichtner and Hailee Steinfeld. The film was written by Jones, Kieran Fitzgerald and Wesley Oliver and it's based on the 1988 novel, of the same name, by Glendon Swarthout. French filmmaker Luc Besson served as a producer of the movie and it also features a breathtaking music score by Marco Beltrami. It's surprisingly dark, and extremely disturbing, but I enjoyed it due to it's strong character development, outstanding performances and odd beauty.

Swank plays Mary Bee Cuddy, a strong and independent 31-year-old woman from New York. She desperately wants to find a husband but can't, due to men finding her too plain looking (I don't think Swank looks bad at all in this movie, considering the film's time and setting). When the local reverend (Lithgow) asks for someone to transport three women across the country, to a church in Hebron Iowa, Cuddy volunteers. The women (Otto, Gummer and Richter) are all mentally ill and the church will provide the special help they need. Cuddy comes across a drifter named George Briggs (Jones), who's about to be lynched for 'claim jumping', and asks him for his help (in return for saving his life). The two make the long journey together and form an odd bond.

The movie has been called a 'feminist western', by many, and I'd definitely agree it's a strong female character study, about the hardships women faced at the time. Swank is outstanding in the co- lead and Jones is just as classic and tough as ever; he does (unintentionally I think) steal some of the female cast's thunder. Jones also proves he's an equally talented director (once again) and the movie is full of beautiful visuals, as well as haunting imagery. For me the highlight of the film is the beautiful music and the touching relationships formed by the movie's central characters (it also has a shocking and unexpected twist, at the end of the second act). It's a hard film to watch, at times, but definitely worth it; if you're a fan of the genre or even if you're not.

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Plain as an old Tin Pail

[ferguson-6 · 6/10 · 1 December 2014]

Greetings again from the darkness. We have come to expect our Westerns to be filled with stoic heroes and nasty villains, but this film delivers a pious, yappy leading lady paired with a selfish, no frills drifter. Based on the 1988 novel from Glendon Swarthout, it's also the second directorial outing from Tommy Lee Jones (The Three Burials of Melquiades Estrada, 2005).

Hilary Swank play Mary Bee Cuddy, a name repeated so many times that it will surely stick with you ... even if the movie doesn't. Thirty-one years old and unmarried, Ms. Cuddy is not without talent. She works the plough horses, cooks up fried chicken, and plays a mean fake piano. As is pointed out to her a couple of times, she is also "bossy" and "plain" looking ... neither trait especially appealing to men in the wild west.

Ms. Cuddy volunteers to take three local women to Iowa. The three women (Grace Gummer, Miranda Otto, Sonja Richter) have each gone insane, and somehow Iowa is the most civilized place within a wagon ride's distance. She teams up with a low-life drifter played by Tommy Lee Jones, after they strike a deal that allows him to escape certain death. The verbal clash of cultures and personality between the two main characters provides most of the action on screen, as the three women being escorted are mostly muted and either locked in the back of the wagon or tied to a wagon wheel during riding breaks.

The film is at its best when focusing on the harsh realities of frontier life. Cinematographer Rodrigo Prieto (Brokeback Mountain) does a nice job of capturing the wide expanse and stark vastness of the landscape, while also tossing in some artsy silhouettes and abruptness of this life. Director Jones utilizes some haphazardly timed flashbacks to help us better understand the plight of the three women, but this could have been done much more effectively. Courage, inner-strength, and morality all play a role here and the contrast between frontier and civilization was most distinct.

Much of the film plays like an oddball buddy picture - think Nolte and Murphy in 48 Hours, or Bogart and Hepburn in The African Queen. If you find the interaction between Swank and Jones to be realistic, then you will probably buy into the whole film. If not, the lack of flow and choppiness of scenes will jump out. There seems to be a never ending stream of little more than cameos from a tremendous line-up of actors: Barry Corbin, William Fichtner, Jesse Plemons, David Dencik, Evan Jones, John Lithgow, Tim Blake Nelson, James Spader, and Hailee Steinfeld. There are even a couple of scenes near the end featuring Meryl Streep (her daughter Grace Gummer plays one of the 3 insane women). The slew of familiar faces actually detracted from the story for me, because the Swank and Jones characters just couldn't hold my attention.

The ending seems quite odd and a bit out of place for what we have just watched, and I'm still confused by the line of dialogue addressing the difficult "winter" they must have had on the wagon trip ... it's clearly stated that the trip began in May and would take a few weeks. Even in Nebraska, May and June can't be considered winter. If you enjoy Hilary Swank on a soapbox or Tommy Lee Jones dancing a jig, then perhaps the pieces will fit better for you than they did for me.

Sorry I bothered to watch this

[LilyDaleLady · 1/10 · 7 July 2015]

(Some plot spoilers below, be warned!)

I have to rate this one star, because I felt totally exploited having sat through this. It presents itself (falsely) as the story of a charming, tough and pragmatic woman (a spinster, in that era) who has her own farm and is very independent and competent. She volunteers to take 3 insane women back from the Nebraska wilderness to "civilization" in Iowa, and along the way, picks up a drifter who is about to be hung. She saves him, and after a variety of typical "journey through the old west stuff" (Indians, rustlers, etc.), she abruptly kills herself. He tries to abandon the crazy women, but then has a change of heart and delivers them to Iowa.

Hilary Swank is very fine in her role as Mary Bee Cuddy, but god what a waste of her talent. She is presented as a strong character, and then kills herself because she is rejected (for the 2nd time in the film) by a man she throws herself at (the drifter, played gruffly by Tommy Lee Jones). This is incongruous and inconsistent with everything we've been shown up to this point. It would have made more sense if aliens had landed in a space ship.

There is no way a tough pioneer woman like Mary Bee would have killed herself over a romantic rejection. It makes no sense. It is also beyond ridiculous that anyone would consider her "ugly" back then -- check out some photographs from the 1850s. The most gorgeous celebrities of the day were not what we modern folks would have considered "hot" -- no makeup, greasy hair, etc. Mary Bee would have been a STONE FOX in 1850. Even if she'd been crippled, lame, pockmarked and blind in one eye -- her money and land would have attracted SOMEONE. There was a shortage of women in the Old West. This is a FACT. Men could not be choosy the way they are today, in a large modern city.

On the other hand, Tommy Lee Jones is a grizzled man in his late 60s. He really was repulsed by the attention from a 31 year old woman? even if she was fat and covered in pimples, he would have probably been so grateful to have sex, he would have fallen on his knees in gratitude.

There is something mentally wrong not with the 3 insane ladies here (whose back stories are very choppy and vague -- and it is not plausible that 3 of 6 women in the same town would have the same mental breakdown at the same time), but with the AUTHOR and SCREENWRITER for putting this hateful rubbish on the screen. It has to be the most anti-feminist, female-hating movie I have seen in my life, positing that a woman who is "plain" (which Swank very obviously is NOT, making it idiotic) has to kill herself, because not having sex or failing to marry is such an absolute disaster. Never mind the many thousands of spinsters of this era (some of them very famous: Jane Austen and Emily Dickinson, among others). It was not all that uncommon to remain single in the 19th century (for men or women).

Also it cannot be that surprising that Mary Bee couldn't find a husband in a tiny prairie settlement with approximately 10 people in the entire TOWN (6 of won are other women, 3 of which are insane). Didn't any of the husbands of the insane women want a new wife? a mother for their children? Yeesh.

Near the end, as if to rub it in, 70 year old Tommy Lee Jones proposes to a comely 16 year old waitress (Hailie Seinfeld, utterly wasted) as if to prove that "men only want extremely young hotties...see?"

If this was not a DVD borrowed from the library, I'd burn it. Avoid at all costs.

Truly awesome

[searchanddestroy-1 · 22 May 2014]

I learned something today. Luc Besson - the Producer - may give us tremendous movies when he dares to, when he is in "the mood" for. This one is the perfect example, at a billion miles away from the usual garbage Junk stuff Besson usually gives us. Crap factory from Europa Corp.

This film is a masterpiece, so was another Europacorp film directed by the same Tommy Lee Jones, back in 2005, THREE BURIALS that no one can forget. Such as this one. An unusual and surprising western.

Hillary Swank is here at her best ever, probably better than in MILLION DOLLAR BABY. Clint Eastwood could have made this one, and not only as a director...

A poignant, gripping story that glues you to your seat from the start to the end. The odyssey, the melancholic journey of a man and a woman, so different from one to the other, who are in charge of three lunatic females. An offbeat and also outstanding tale, adapted from a Glendon Swarthout's novel, the author of THE SHOOTIST, from which Don Siegel made the last John Wayne's film, back in 1976.

Harrowing exploration of mental illness in less enlightened times

[Leofwine_draca · 6/10 · 19 November 2016]

THE HOMESMAN is a dark and gritty western exploring the topic of mental illness in less enlightened times. The story was adapted by Tommy Lee Jones from a 1980s novel, and Jones also directed and stars in the picture as the titular character. He plays an old-timer who agrees to help Hilary Swank transport three mentally ill women some 500 miles to a place of sanctuary where they can be cared for.

First off, this is very well shot movie with strong direction from Jones, whose performance is also a quality one. The colours are bright and the landscapes are beauty, which contrasts with the ugly scenes involving the main characters. Mental illness has always been a difficult subject matter for cinema - ONE FLEW OVER THE CUCKOO'S NEST is one of the few successful explorations of the topic - and it translates into a depressing and yes, upsetting story here.

There are some dark twists and turns along the way, but the characters and acting keep you watching, and at least one crowd-pleasing moment designed to lift the spirits a little. THE HOMESMAN isn't really a film you can say you enjoy watching, but kudos to Jones for making something a bit different from the norm.

Home is where ....

[kosmasp · 7/10 · 25 April 2015]

Well, where is it? Some might think it is in an "abandoned" house, some others feel the church is their home and so on. This movie might not feel like home for those who expect a Western with a lot of action. If that's what you're expecting, don't even bother watching this. This is closer to a road movie than to an action movie.

That being said, it is very well made, with magnificent turns from our two lead actors. There's things happening along the way that you might not expect (at least I didn't expect them to happen), but it's the journey and the "task" at hand, which will either fascinate you or annoy you. One thing is for sure: Tommy Lee can dance ... Make of it/this whatever you think or want to ...

Good directing - Good story

[zekia-157-984263 · 7/10 · 11 November 2014]

I didn't know that Tommy Lee Jones directed this film, but directing was one of the things I liked the most about it.

In the whole movie there's always a dark/sad scene followed by a light/happy one, and it goes on and on like this until the end. And that's what made this movie bearable to watch. I'm a mother and the scenes with the dead babies, or the mother who throws her baby to the toilet was just too much for me... But the little happy moments following made me keep watching this. I think that this is actually a good directing technique and fitting to movies that want to talk about reality/real life etc.

Also the movie achieved to get me to that western atmosphere very well. It made me feel the sun, the cold wind, the silence and loneliness of the scenery, the attitude and way of living of the people of that time.

I also liked the ending in which I think that Tommy Lee Jones wants to say that incidents in life may change us temporally but in the end we never change and we're always the same.

Very good movie in general, quite cruel but realistic and honest.

NOT for the tender of heart

[trancelucence · 7/10 · 15 March 2021]

*No spoilers, except whether this film has a happy ending.* This movie bothered me for days. I found it quite good otherwise, frequently charming and disarming, and then, a SHOCK more than halfway through, one of the most tragic scenes I've ever seen. I'm a mental health professional and I've encountered many terrible things in real life, generally I'm pretty thick-skinned but this REALLY stuck with me. My purpose here is to warn those who are tender of heart that not only does this not have a happy ending or positive outcome, many may find it downright disturbing, depressing. The main redeeming qualities of his film are that it's very well-acted and directed, and an extremely astute, frequently brilliant character study. But there's little recompense for or erasing this sad, sad, heartbreaking scene and what led up to it. If you're sensitive you may want to skip this one.

I didn't want it to be over

[albrechtcm · 10/10 · 22 February 2015]

Given that three women in the Nebraska Territory all went raving mad at the same time (maybe it was the Danish rye bread), this tale grabs us immediately with its starkness, bitterness and coldness, not to mention lack of compassion. Tommy Lee Jones as a drunken old reject is right on the mark. Hillary Swank is no longer a sexy young gal, rather a bitter lonely hard-working single woman trying to eke out a living in the unforgiving wilderness. Every scene, every moment is captivating. You may not even like what you're seeing, but you can't stop watching. Somehow, even though I thought three mad women at one time seemed contrived, I had to accept that it was just that way. Shortly after getting organized, the film turns into a road picture, but what a road, or lack thereof. Jones, Swank and the three locas have to traverse empty countryside, facing drought, Indians, hunger, privation of every kind, for at least five weeks to get to a place where a kindly preacher's wife (Meryl Streep, as usually so immersed in this small part that you just know she's really a long-suffering preacher's wife) has promised to care for them. Developer James Spader too has only a few brief moments to do his thing, but it's unforgettable. When my granddaughter was small, we used to watch films together. Sometimes when we watched a film she really really liked, (think Zoot Suit), she'd burst out crying at the end. I'd ask, "Why are you crying, Baby Girl?" and she'd say, "Because I didn't want it to be over." I felt this way about The Homesman. I didn't want it to be over. I had lots more questions and things I'd like to see resolved. What happened to the hotel and town development? What happened to the man (William Fichtner, always a pleasure) and his two little girls? What happened to the crazy women and whatever happened to Briggs (Jones)? A sad cold story, but one you just can't walk away from.

A Distinct Western That's Both Quirky and Creepy

[FilmMuscle · 6/10 · 14 November 2014]

Tommy Lee Jones' latest directorial effort brings the long-missed HilarySwank back to the big screen with a powerfully melancholic performance—a vulnerable single woman by the name of Mary Bee Cuddy (a type of name that's very familiar in the Western genre) who simply can't bear the boredom and desolation of her current life. She seeks purpose and ultimately a future, which is why she's the first town resident willing to actually transport three insane mothers to a church in Iowa for (implied) healing. Just the sheer horrific and frightening acts we witness these individual women commit are unexpectedly startling. The fact of the matter is that The Homesman is definitely not the kind of film it appears to be, initially judging by its trailers and even by its deceivingly bright (brownish-hued) appearance. Beneath the surface level, a whole lot of darkness and tragedy is boiling. With the ceaselessly eerie score and disturbing imagery on display, The Homesman plays a lot like a Western with transparent horror undertones, as strange as that sounds.

Whereas Mary Bee Cuddy desperately longs for a companion—for a romantic partner—to accompany her through the remainder of life, Tommy Lee Jones' George Briggs is very much an individual's individual, one who left the US Regiment of Dragoons once upon a time and since then has been doing just fine on his own without any desire for the responsibility and limitation that comes with tying yourself down to other people. It's this sense of company that a lot of the film's major characters yearn for or patently need in their present circumstances. The idea of marriage and "settling down" for a potentially prosperous future plays as a significant motif here—the societal concept's relevance in this specific time period heavily emphasized.

Even though the picture's general tone is quite dreary, there are enough comical moments throughout to give this film an even more unique spin in its respective genre. Bizarre character actions/interactions and awkward line deliveries make for considerable amusement with co- lead Jones, in particular, portraying a sillier character than usual. Most of all, it's the peculiarly evolving dynamic between Cuddy and Briggs on this journey (the crazy women now taking a backseat in the story) that takes up much of the screen-time and consequently, we see several tonal shifts throughout the plot, for good or ill.

On that note, the film—at the end of the day—feels largely uneven and muddy. The various subplots, especially including the mentally deranged women's arc, don't really lead anywhere—that is, anywhere satisfying and particularly climactic. See, while The Homesman does certainly present a distinct Western narrative that's void of all the usual caricatures and stereotypes constantly found in the genre, the end product still comes out unfortunately anti-climactic and unspectacular. The film's odd mixture of utter quirkiness/humor with total creepiness undoubtedly keeps you entertained through the entire story, but the more you look back at it, the more forgettable the whole package ends up being. The story focuses on one fascinating aspect (like the strange mentally unhinged illness that has taken the women of the town, or the unnerving, gradually building desperation for a husband—for sex—inside Swank). Suddenly, however, it abandons those increasingly intriguing subplots for something else, and the narrative continues changing its goals and tone to the point where you're not sure how exactly cohesive and consistent this picture turns out to be.

Pointless

[rrcharpe · 2/10 · 20 September 2014]

What I have always disliked about certain movies are the ones with no ending that just fade to black. I guess you could say I'm a traditionalist in that I like a beginning, a middle and a decent ending that gives some insight into what my spending 2 hours with the flick was all about. The Homesman was essentially a throwback to old time westerns but lacked a coherent reason for the movie being made in the first place. It was more like a documentary rather than an entertaining movie in that it accurately portrayed the hardships of the old West but didn't have any uplifting message within it to make it seem worthwhile. First of all there were quite a few holes in the plot, one of which was the fact that a pioneer woman was willing to leave her farm without having anyone to look after it when she left. Considering that her entire world was her homestead it didn't make any sense that Hillary Swank's character would just up and leave without making more preparations for the stock to be fed and the place to be watched. Secondly, there was never any valid reason given for Swank's character to hang herself a little over half way into the movie. Additionally, the end of the movie was a complete letdown. Don't let the list of A-list actors fool you, this turkey stinks. StocktonRob

Remarkable work of auteur cinema -- realism at its best

[jdeureka · 8/10 · 20 July 2014]

Tommy Lee Jones has a wry, dry character -- rich and deep as unwatered open plains of the Americas. He's transferred his particular personality power to the story of The Homesman. He's successfully created a fine work of "auteur cinema" (much as I personally think this form rarely exists).

The Homesman is an emotionally and powerful, idea-rich, almost humorless story -- with an immense amount of humor. It has very tight, economic tale telling with no fat on the bone; in which much is implied, historical accuracy hits its target by nuance, and the story itself is deeply respectful of an intelligent audience.

The Homesman is not "entertainment" in the haha, shoot-'em-up Western sense. It's realism committed to a moral cause -- criticism of the disenfranchised, the homeless, the people who cannot make it no matter how hard they try. It has a brilliant sense of time and place that tells the life stories of dozens of hard-enduring, long-suffering "forgotten men" -- the women no less than the men.

The key heartbreaker is Hilary Swank's character of Miss Mary Bee Cuddy. She's born into a Western frontier world where she and everyone else believes and practices that "No man, having put his hand to the plough, and looking back, is fit for the kingdom of God." Hard workers and decent people. But tragically that is not enough. Why? The Homesman leaves that question deliciously unanswered. Life is not fair. God is not just.

Beautifully The Homesman does -- kind of -- answer life's problems with the value of sheer vitality and gutsiness itself. Thus that key visual motif in the movie that comes from: George Caleb Bingham, "The Jolly Flatboatmen". We must dance the dance of life, however mad.

Wild and crazy West

[Quietb-1 · 7/10 · 26 November 2014]

Hillary Swank is perfect as Mary Bee Cuddy a bossy and plain pioneer woman who looks for love, or at least a husband her idea of love. Tommy Lee Jones writes and directs himself which becomes too noticeable in the last scene.

Some big stars make tea bag appearances. Seems like Mr. Jones called in some favors or made a package deal to get Meryl Streep by selecting her daughter for a major role of one of the women gone mad in the West.

Ignore the too many pristine costumes. Good performances, noteworthy cinematography and at least one I didn't see that one coming moment make this small intimate western drama work.

In limited release, it is worth seeking out. Catch it in a theater, or enjoy it in the comfort of your home.

Awful

[pinecone759 · 1/10 · 11 February 2019]

What a terrible movie. It starts out with a strong, smart woman and ends with Tommy Lee Jones acting like an idiot. There are so many positive parts that then go completely haywire, that I couldn't believe Tommy Lee actually wrote it. He should fire his film editor. The ending is so off, I was kicking myself for watching the entire movie. You think Tommy Lee is going to redeem himself and the movie, and it instead ends with him drunk and dancing and forgetting the mission he gave himself. The fact that Hillary Swank hangs herdelf because no one will marry her/she can't get a man is stupid. Women in pioneer times didn't do that.

Don't waste your time.