Name: Let Him Go
Genre: Thriller, Crime, Western
Released: 2020-11-05T00:00:00+00:00
Cast: Diane Lane, Kevin Costner, Kayli Carter, Lesley Manville, Will Brittain

The opening scene of “Let Him Go” is a grimly effective hook: Kevin Costner‘s retired sheriff George Blackledge discovering his son’s lifeless body in a creek, the camera lingering on the still water as if time itself has paused. Director Thomas Bezucha doesn’t shy away from the brutality of this moment, setting the tone for a film that blends neo-Western grit with thriller tension. This isn’t a film about galloping heroes or sweeping landscapes; it’s a grounded, intimate story of loss and vengeance, told through the prism of a family shattered by tragedy.

Based on Larry Watson’s 2013 novel, “Let Him Go” follows George (Costner) and his wife Margaret (Diane Lane) as they embark on a perilous journey to rescue their grandson Jimmy from the clutches of the dangerous Weboy family. The film is a slow-burning character study wrapped in a crime thriller, with Bezucha drawing inspiration from midcentury pulp thrillers. The narrative structure is methodical, allowing the audience to invest in the central conflict and the moral complexities of its protagonists. It’s a film that demands patience, much like the unrelenting march of George and Margaret’s journey across the Dakotas.

Diane Lane delivers a powerhouse performance as Margaret, embodying the steely resolve and quiet desperation of a grandmother driven by love and loss. Her scenes with Lesley Manville‘s chillingly composed Blanche Weboy crackle with tension, particularly in the unsettling motel room confrontation where Blanche’s volatile nature is laid bare. Lane’s ability to convey raw emotion with subtle gestures—like her trembling hands as she tends to George’s mutilated fingers—is a masterclass in understated acting. Manville, too, is a revelation, transforming what could have been a one-dimensional villain into a complex figure of menacing charisma and unpredictable cruelty.

Costner, meanwhile, brings a weathered gravitas to the role of George, a man haunted by his past as a lawman and the recent loss of his son. His performance is understated but potent, particularly in the film’s quieter moments, such as when he shares a silent bond with his grandson or grapples with the physical and emotional toll of their journey. The chemistry between Lane and Costner is palpable, grounding the film in a sense of authentic partnership and shared grief.

However, the film falters in its execution of certain thrilling sequences. The implausible motel room scene, where the Weboys invade the Blackledges’ space with cartoonish villainy, feels tonally inconsistent and undermines the grounded realism established earlier. Similarly, the ranch home confrontation is marred by over-the-top violence that strains credibility. These missteps disrupt the film’s otherwise taut pacing and undermine the suspense. The film’s reliance on coincidental encounters—such as the Blackledges repeatedly stumbling upon helpful strangers—also stretches believability.

The score by Michael Giacchino complements the film’s brooding atmosphere, with tracks like “The Break of Dawn” effectively underscoring the emotional weight of key scenes. Yet, the soundtrack occasionally veers into melodrama, threatening to overshadow the more nuanced performances. The cinematography, too, is a mixed bag: while some shots beautifully capture the desolate beauty of the Dakotas, others feel overly stylized, detracting from the film’s gritty realism.

In terms of originality, “Let Him Go” offers a fresh take on the neo-Western genre by focusing on the moral ambiguities of its characters rather than relying on traditional hero vs. villain dynamics. The film’s exploration of grief, love, and the lengths to which one will go for family is compelling, even if some plot developments feel contrived. Bezucha’s direction is largely assured, though his tendency to linger on certain scenes—like the protracted motel room confrontation—tests the audience’s patience.

Ultimately, “Let Him Go” is a film that lingers in the mind long after the credits roll, thanks in large part to Lane’s remarkable performance and Bezucha’s skillful direction. It’s a film that will resonate most with audiences over 50 who appreciate a little violence with their late-life dramas, as noted by Metacritic reviewers.