OLD HENRY: A NEAR-PERFECT WESTERN MASTERPIECE THAT SLIPPED THROUGH THE CRACKS

In the rugged Oklahoma Territory of 1906, Old Henry (2021) delivers an expert rendering of Old West minimalism—a taut, slow-burning action-Western that pays homage to classic genre staples while standing tall as one of the most acclaimed modern entries. Directed and written by Potsy Ponciroli, the film boasts a near-flawless 94% Certified Fresh score on Rotten Tomatoes from 72 critics, with a 92% audience Popcornmeter from over 500 ratings, yet it quietly vanished from theaters amid a limited release during the pandemic era, grossing under $80,000 worldwide.

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At its heart is a splendid showcase for Tim Blake Nelson’s considerable skills. The leathery, well-worn star—known for roles in O Brother, Where Art Thou? and Marvel’s The Ballad of Buster Scruggs—plays the titular Henry McCarty, a scruffy widower eking out a hard-scrabble existence on a lone prairie farm with his teenage son, Wyatt (Gavin Lewis). Henry’s life is one of quiet isolation and Scripture-quoting routine, a stark contrast to his son’s crisp shirts and fashionable suspenders, which hint at dreams of a different world beyond the dirt and drudgery.

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The mismatched father-son pair’s fragile peace shatters when a riderless horse appears, its saddle smeared with suspicious blood. Henry investigates and finds a gravely wounded stranger named Curry (Scott Haze), clutching a six-shooter and a satchel stuffed with cash. Against his better judgment—and despite Wyatt’s protests—Henry brings the man, the gun, and the money back to their homestead to tend his injuries.

Trouble arrives swiftly in the form of a trio of men wearing sheriff badges, led by the suspiciously cheerful (and deeply sadistic) Ketchum, portrayed with chilling charisma by Stephen Dorff. They claim to be pursuing a bank robber, demanding the cash and the fugitive. Henry remains skeptical: Is Curry the outlaw, or are these “lawmen” the real threat, with their itchy trigger fingers and menacing demeanor?

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Dorff’s Ketchum isn’t fooled by Henry’s farmer facade. Noting the way Henry carries his gun like a seasoned gunslinger, he taunts: “I’ve never seen a farmer who handles a weapon like that.” The observation proves prescient as tensions escalate into an inevitable siege on the isolated homestead. Henry defends his home with surprising skill, revealing a hidden talent that calls his true identity into question—whispers of frontier legend swirl, evoking a whiff of Billy the Kid mythology.

Old Henry is less a reinvention of the Western than a loving tribute to old Westerns: hints of Clint Eastwood’s stoic antiheroes, dashes of John Wayne’s grit, and echoes of classic showdowns. The film’s minimalist style—sparse dialogue, atmospheric cinematography of Tennessee grasslands standing in for Oklahoma, and a focus on character over spectacle—creates a supple cut of vintage rawhide, as critics have praised.

Nelson delivers world-weary greatness, his hangdog expression and understated intensity anchoring every scene. Dorff shines as the self-infatuated yet cunning villain, while supporting turns from Trace Adkins (as Henry’s brother-in-law Al) add depth to the family dynamics. The final payoff delivers satisfying frontier justice with moral ambiguity.

Critics hail it as “the best Western since Unforgiven” and a “riveting, slow-burning” gem, with Nelson’s performance earning near-universal acclaim. Yet some flaws persist: Gavin Lewis feels miscast as Wyatt, his method-acting style clashing with the film’s grounded tone, and a few scenes borrow too heavily from cheesy ’50s TV Westerns like Wagon Train.

Still, Old Henry—now streaming on platforms like Paramount+—remains a hidden masterpiece that deserved to redefine the genre. Its near-perfect scores and powerful storytelling prove that sometimes the quietest Westerns pack the biggest punch. Fans of classic cowboys owe it to themselves to seek this one out before it slips away again.

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