Review by Jon Donnis
Martin McDonagh has built a reputation for combining sharp comedy with uncomfortable subject matter, flawed characters and unexpected emotional depth. From In Bruges to The Banshees of Inisherin, his films have rarely followed conventional storytelling paths, and Wild Horse Nine continues that tradition with a darkly comic political thriller that is as interested in personal relationships as it is in political intrigue.
Set shortly before the 1973 Chilean coup, Wild Horse Nine follows two CIA agents, Chris Carlisle (John Malkovich) and Lee Chesterfield (Sam Rockwell), who are sent from Santiago to Easter Island. What initially appears to be a relatively straightforward assignment soon becomes considerably more complicated as old secrets, political conspiracies and personal loyalties threaten to bring their relationship crashing down.
The film establishes an intriguing dynamic between its two central characters. Chris is an ageing, increasingly unpredictable CIA veteran whose crude behaviour, morphine addiction and disregard for professional boundaries make him a difficult travelling companion. Lee, meanwhile, is considerably more restrained, having spent years working alongside a man who has clearly influenced much of his professional life.
There is genuine affection between the pair, but their relationship is far from straightforward. Chris has begun recording his memoirs, documenting a career that has placed him close to some of the most controversial events in modern history, including the Guatemalan coup, the Bay of Pigs invasion, the assassination of Patrice Lumumba and the murder of John F. Kennedy. Unsurprisingly, these are not the sort of memories his employers are particularly keen to see published.
McDonagh gradually reveals the extent of the problems surrounding the two men. Chris is suffering from terminal cancer and dementia, while Lee has been instructed by their bureau chief, MJ (Steve Buscemi), to ensure his former mentor never gets the opportunity to expose the agency's secrets. It creates an increasingly uncomfortable situation in which personal loyalty and professional responsibility are heading towards an inevitable collision.
The writing is arguably the film's greatest strength. The dialogue is consistently sharp, frequently outrageous and packed with the dark humour that has become McDonagh's trademark. Chris, in particular, is an extraordinary character, capable of being simultaneously entertaining, unpleasant, pathetic and surprisingly sympathetic. His increasingly erratic behaviour provides plenty of comic opportunities, although there is always something rather sad lurking beneath the surface.
The decision to place much of the story on Easter Island also proves effective. Its enormous stone statues and isolated landscapes provide an interesting contrast to the political paranoia and increasingly dangerous circumstances surrounding the characters. There is something almost absurd about watching two CIA operatives attempting to navigate their personal problems in such an unlikely holiday destination, particularly when their supposed getaway becomes anything but relaxing.
The island also provides an opportunity for Chris to encounter Monica (Mariana di Girolamo) and Alicia (Ailín Salas), two politically active young students. Chris initially treats the women with his usual lack of tact, but an unexpected connection develops, particularly with Monica.
Their conversations introduce some of the film's more serious political themes. Chris understands what is coming in Chile and attempts to warn Monica that President Allende's government is about to be overthrown, with activists such as herself likely to become targets. His warnings are delivered with an unusual mixture of cynicism and genuine concern. Here is a man who has spent much of his career contributing to the very political interference he now appears uncomfortable witnessing.
Beneath the political intrigue and outrageous exchanges, Wild Horse Nine is ultimately a story about friendship, ageing and regret. McDonagh explores what happens when two people who have spent much of their lives together are forced to confront the possibility that their relationship is coming to an end.
This is where the performances become particularly important.
John Malkovich is extraordinary as Chris Carlisle, delivering one of the strongest performances of his distinguished career. He brings an effortless unpredictability to the character, making his crude remarks and increasingly erratic behaviour consistently entertaining without losing sight of the tragedy underneath. Chris is hardly a conventional protagonist, and there are plenty of moments when his behaviour makes him thoroughly unlikeable. Nevertheless, Malkovich finds enough humanity in the character to make his eventual fate genuinely affecting.
Sam Rockwell is equally impressive as Lee. His more restrained approach provides an excellent counterbalance to Malkovich, and the chemistry between the two actors is one of the film's biggest assets. Lee is caught between his loyalty to a man who has shaped his career and the increasingly dangerous demands being placed upon him by MJ. Rockwell conveys that internal conflict convincingly, allowing his character's gradual disillusionment to develop naturally.
Steve Buscemi also makes an enjoyable impression as MJ, bringing the right mixture of menace, arrogance and dark comedy to a character who initially appears to be little more than an unpleasant bureaucratic presence. As the story progresses, however, his involvement becomes considerably more personal, particularly when Lee discovers just how far MJ is prepared to go to protect the agency's interests.
The third act is particularly strong. As the various conspiracies come together, the film becomes considerably more suspenseful without abandoning its dark humour. The arrival of MJ on Easter Island changes the atmosphere, while Lee's increasingly difficult position provides the emotional backbone for the final stretch.
McDonagh handles the transition from comedy to tragedy extremely well, building towards an ending that is both moving and unexpectedly powerful. The final exchanges between Chris and Lee are especially effective, bringing their complicated friendship to a conclusion that feels earned rather than artificially sentimental. It is a fitting end to a story about two men whose lives have become so intertwined that separating personal loyalty from professional obligation is almost impossible.
However, Wild Horse Nine is not without its shortcomings.
The female characters are arguably the film's biggest weakness. Although Monica and Alicia serve important purposes within the story, neither is afforded quite the same depth or development as the male protagonists. Monica has moments of genuine importance, particularly through her conversations with Chris, but the film remains overwhelmingly focused on the relationship between its two CIA agents. Alicia, meanwhile, has a more functional role in the unfolding conspiracy, leaving both women feeling somewhat underdeveloped.
There are also moments when the film struggles to balance its dark comedy with the seriousness of its historical subject matter. The political events surrounding the Chilean coup and the references to real-world assassinations and CIA operations are hardly light material. McDonagh deliberately approaches much of this through an absurdist lens, but there are occasions when the comedy feels uncomfortable, particularly when dealing with genuine historical atrocities.
Finally, anyone familiar with McDonagh's previous work will recognise elements of his established style. The foul-mouthed characters, uncomfortable conversations and sudden shifts between comedy and violence are all present. While these qualities are undoubtedly part of his appeal, Wild Horse Nine occasionally feels as though it is revisiting familiar territory rather than breaking entirely new ground.
Nevertheless, these criticisms do little to undermine what is an extremely entertaining film.
Wild Horse Nine is a sharply written black comedy political thriller, elevated by two exceptional central performances and some excellent character work. It is an unusual buddy story about two deeply flawed men, with McDonagh somehow managing to make us care about characters who would otherwise be difficult to sympathise with.
Malkovich is the standout, Rockwell is fantastic, and their chemistry gives the film an emotional foundation that makes its more serious moments particularly effective. The third act delivers the suspense and emotional payoff that the earlier sections have been building towards.
It may not completely escape the familiar territory of McDonagh's previous films, and its supporting female characters deserved more attention, but there is plenty here to admire.
Wild Horse Nine is wickedly funny, unexpectedly moving and beautifully performed. It deserves your attention.
I score Wild Horse Nine a solid 9 out of 10.
Coming Soon to Digital
Apple TV - https://apple.co/4k7TreD
