January Jones stars in a new western film entitled “Sweetwater” (also known as Sweet Vengeance in some territories). A story set in the late 1800s where a fanatical religious leader, a former prostitute and a renegade Sheriff collide in a blood triangle within the rugged plains in New Mexico Territory. Sweetwater also stars Ed Harris, Jason Isaacs and Eduardo Noriega and is directed by Logan Miller. Check out the latest buzz on this upcoming movie below:
“Sweetwater: A New Film By Logan Miller
Perhaps realizing they didn’t have the budget to indulge their western fantasies in full, filmmakers (and identical twins) Logan and Noah Miller take a route of peculiarity with “Sweet Vengeance,” making oddity, not expanse, the focus of the movie. The Millers make muscular choices in tone and humor here, shaping a curious picture that’s skilled at depicting sudden acts of violence, burning scenes of intimidation, and the emptiness of the southwest, creating an impressive but low-wattage effort that’s agreeably primitive in its design of good vs. evil — though shadings of such moral assignment are always a little messy, keeping the material somewhere in the vicinity of sophistication as it delivers captivating six-gun basics.
Forging a life together in the blazing desert of New Mexico, Sarah (January Jones) and Miguel (Eduardo Noriega) are facing financial trouble, finding it impossible to make a living as farmers with racist attitudes swirling around town, also facing resistance from Prophet Josiah (Jason Isaacs), a lunatic preacher with multiple wives, a literal flock of sheep, and inspiration from God to kill at will. Disturbed by Miguel’s lack of respect, Josiah murders the innocent man, leaving Sarah alone to keep up the land as she searches for her missing husband. Also in town is Sheriff Jackson (Ed Harris), who’s investigating the disappearance of politically connected twins (Logan and Noah Miller) last seen near Josiah’s property, applying pressure on the religious servant as he digs for clues. Realizing that Josiah and his henchmen are responsible for Miguel’s death, Sarah saddles up for revenge, using dormant sex appeal and blunt force to even the score.
Watching “Sweet Vengeance” is like paging through a western comic book, with its eccentric personalities and crisply imagined elements of revenge. It’s not lighthearted work, but sold with enough spice to pass for an entertaining ride. Opening with a poetry reading from Jackson and a shot of fire and brimstone preaching from Josiah, the Millers announce straight away that their film isn’t a conventional wagon ride with chaw-squirting gunslingers, but something more idiosyncratic, passing on a massive sweep of western justice to inspect strange people and duplicitous dealings, packed full with oddball behaviors, including impromptu explosions of dance and convulsing conversations with God. “Sweet Vengeance” isn’t comical, but there’s strangeness about the work that’s amusing, keeping the proceedings unpredictable despite a familiar premise.
It’s the acting that ultimately holds “Sweet Vengeance” together. While Jones is satisfactory in silent slaughter mode (better seen than heard), crossing the land clad in a vivid purple dress to visually disarm her enemies for dispatching them, the movie belongs to Isaacs and Harris, who submit unswerving work as burgeoning antagonists.”
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