Movie remakes have long been Hollywood’s backup plan. In only the last 2 years we’ve received RoboCop, Endless Love, About Last Night, Poltergeist, Point Break, The Jungle Book and Ghostbusters. And there’s a staggering number more in development. I tend to greet each with guarded expectations given the middling success of most of them (The Jungle Book was a notable exception) . Given all the ways The Magnificent Seven could have been corrupted, it’s refreshing to see it got a lot right.
Recycling the past is pretty common these days, but a remake of a remake? Well that’s kind of rare. The Magnificent Seven is a new rendition of the classic 1960 western which was also a reworking of the 1954 Japanese epic Seven Samurai. There are still purists who view the John Sturges version as a pale imitation of the original. Although the 1960 interpretation has grown in such stature over the years that it has now become an accepted exemplar of the American western. The American Film Institute even listed it as one of the 100 most thrilling American movies of all time. So the 2016 adaptation begs the question: why redo it?
I was pleasantly surprised. This reproduction could have been a lot worse. It sidestepped my worst fears. Director Antoine Fuqua has kept the setting in the 1870s. Screenwriters Richard Wenk and Nic Pizzolatto have preserved the relatively simple narrative. Keeping it as the straightforward western that it is, are among the picture’s strengths. Don’t fix what ain’t broke. The story concerns evil land baron Bartholomew Bogue (Peter Sarsgaard) who terrorizes the little mining town of Rose Creek. Townsfolk Emma Cullen (Haley Bennett), and her friend, Teddy Q (Luke Grimes) enlist bounty hunter Sam Chisolm (Denzel Washington) for help. Chisolm, in turn, assembles a team of 6 more gunslingers to help out.
Fuqua assembles a racially diverse, all-star cast. Denzel Washington heads up the company. No stranger to his productions, Washington has worked with Fuqua twice before in his most monetarily successful flicks (Training Day, The Equalizer) when adjusted for inflation. There’s Josh Faraday (Chris Pratt), a hard-drinking gambler with a talent for explosives. He is joined by the sharpshooter with the coolest moniker Goodnight Robicheaux (Ethan Hawke), his assassin-with-a-knife partner, Asian immigrant Billy Rocks (Byung-hun Lee), big burly Jack Horne (Vincent D’Onofrio), a skilled but goofily unstable tracker, Comanche warrior without a tribe Red Harvest (Martin Sensmeier) and notorious Mexican outlaw Vasquez (Manuel Garcia-Rulfo). Granted, just roll calling the actors like this is a bit methodical, but it’s such an important component. They’re really the best thing about the movie.
The charismatic ensemble is the most compelling argument to see The Magnificent Seven. Every film has the right to be judged on its own merits, but it’s unreasonable not to acknowledge previous versions in a remake. The modern casting is inventive. Simply watching Denzel Washington play the commanding leader of this posse of renegades has an appeal. He’s good in this context. Although the actors distinguish this production, it’s more of a cosmetic change than a substantive one. There’s charisma on display to be sure, particularly in the comedic moments from wisecracking Chris Pratt. “I believe that bear is wearing people clothes,” he says of Vincent D’Onofrio’s character. Yet the performers still come up a bit lacking in the charm department. That would have really put this adaptation over the top. Oh there’s plenty of rip-roaring shooting on display to distract from its deficiencies. However the bare bones story goes on for far too long. I’ll concede the originals were too lengthy as well. Fuqua could have remedied that with his interpretation, but he doesn’t. In contrast, this variant seems to mosey along at a sluggish pace. There’s no reason why we need such a protracted build-up to the final battle. The final confrontation is long and repetitive as well. Oh and really violent. Thousands are slaughtered in this shoot ’em up . The PG-13 rating just might be the funniest joke of the movie. If you watch this first, having never seen the John Sturges’ classic, you should enjoy it. It’s fine, but it’s not fresh or innovative or memorable or necessary. It’s disposable entertainment for a lazy afternoon matinee. The Magnificent Seven succeeds in that way.