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Darren says

Brolin is enjoyable to watch and on point, even if the rest of the movie is not.

Tym says

The opening credits were better than the film, and that's not saying much.

The 'spaghetti westerns' of the 60's were punk deconstructions of the genre.

If these Italian westerns, often filmed in Spain, were in essence 'anti-Westerns', then Johah Hex is the comics anti-hero they produced. The Man With No Name films (1964-'66) eschewed the slick for the naturalistic, moral ambiguity, and spacious verité. By embracing the raw they became both realistic and avant-garde. DC Comics' response in 1971, Jonah Hex, is an unvarnished miscreant, literally burned by life, who has some slim tether of ethics under his ruined flesh.

The best proper template for a Jonah Hex film would be The Good, The Bad, & The Ugly: all Leone angles, grouse and grit, and Morricone chant and clang. In fact, follow-ups like High Plains Drifter and The Outlaw Josie Wales are the best unofficial Jonah Hex movies you could desire. Sadly, despite these obvious examples, this committee-crushed film instead seems to take its cues from the Wild Wild West (1999) one-room school of clueless. When the animated opening credits, which tell a perversely rushed version of his origin, are better than the film following, you know they've lost the reins. Maybe on the next try a Tarantino will ride it into a better sunset.