‘Butcher’s Crossing’ Movie Review

Nature’s Unheard Whispers: A Critical Exploration of ‘Butcher’s Crossing’ and the Elusive Connection Between Man and Wilderness

Upon his arrival in the remote yet lively Kansas settlement of Butcher’s Crossing, William Andrews (played by Fred Hechinger) exudes a sense of wide-eyed enthusiasm and adventurous spirit. Much like his peers, especially considering the film’s 1874 backdrop, William embraces Horace Greeley’s famous mantra, “Go West, young man,” with utmost conviction. Defying the wishes of his Bostonian father, William temporarily departs from Harvard, aspiring to join McDonald’s buffalo hunting operation led by Paul Raci. Convinced that the demanding work amidst the rugged landscape will provide him with a practical education, William is captivated by the prospect, anticipating an enriching experience in the heart of the Western frontier.

However, the outcomes diverge significantly from those optimistic expectations. “Butcher’s Crossing” is lacking in focus, appears distant, and falls flat.

Derived from the novel of the same name by John Edward Williams, director Gabe Polsky’s film unfolds as a conservationist narrative, delving into the themes of human greed and dominion over nature. While the Western genre traditionally serves as a vehicle for myth-making, it can also serve as a platform for revisiting past cultural injustices, a purpose Martin Scorsese endeavors in “Killers of the Flower Moon,” for instance. Polsky, through the lens of Williams’ perceptive protagonist, endeavors to bridge the historical brink of buffalo extinction with the contemporary concerns of today’s audience, steeped in anxieties about the ongoing wave of human-induced extinctions. Despite its noble aspirations, this commendable intention fails to progress beyond rudimentary ambitions.

Upon seeking employment from McDonald, William faces rejection as McDonald, in an attempt to shield the young man from the soul-crushing nature of the trade, refuses him. However, William’s intrigue is piqued when he learns about Miller, portrayed by the somewhat out-of-place Nicolas Cage. Miller, a skilled hunter with a distinctive appearance—complete with a deep black beard and a shaved head—narrates a seemingly impossible dream. Almost a decade ago, he glimpsed a valley in the Colorado Territory teeming with buffalo. Given the scarcity of the animal in Kansas, Miller’s vision becomes enticing to William.

Intrigued, Miller reveals that he needs $500 to assemble a team, including the cantankerous Fred (played by Jeremy Bobb) and the superstitious Charlie (played by Xander Berkeley), to execute the expedition. Serendipitously, William happens to have about $500 at his disposal. The lingering question, however, revolves around whether William can place trust in Miller’s ambitious venture.

The film’s brisk pacing consistently conveys the sense that Polsky is grappling with less-than-ideal time constraints. The allocated 107 minutes for the narrative seem inadequate for the director’s ambitions. The journey to Miller’s buffalo haven is a grueling one, marked by a few brief stops that underscore the untrustworthy nature of the people encountered along the way. However, the psychological toll of traversing a vast desert without water is condensed into a poorly edited fever dream experienced by the dehydrated William.

While Hechinger admirably tones down his character’s youthful exuberance through compelling physicality, Polsky’s interest in the character wanes. Upon reaching the Colorado territory, the focus swiftly shifts to Miller. Initially, William is captivated by Miller’s hunting prowess, finding unbridled joy in their collaborative effort on his first buffalo kill. However, Miller’s intentions go beyond necessity; he aims to decimate the entire herd. What ensues is a massacre, a bloodbath that repulses fellow hunters and induces perpetual bouts of vomiting in William. The film becomes fixated on Cage during these sequences. Yet, aside from Cage’s predictable descent into malevolence, the internal workings of Miller remain largely unexplored.

For a film attempting some psychological drama, it struggles to connect the mindset of these men with their harsh environment. The inarticulate visual language becomes glaringly obvious when “Butcher’s Crossing” becomes a snow Western version of “The Treasure of the Sierra Madre.” Unlike John Huston’s picture, madness and greed are merely affectations here rather than fully felt motivations pushing these characters. Worse yet, you’d think the isolation of these men being trapped in this valley for months would take up more time. But again, Polsky speeds ahead using more unwieldy fever dream montages to do the heavy lifting.

The essential intensity required to capture the nightmarish chaos the director aims for doesn’t manifest until the climactic breakdown, a moment that unfolds just as William is riding away and the credits begin to roll. It becomes evident that William has undergone a transformation, debunking the notion of manifest destiny as a grand adventure. However, the question remains: What did he discover? The film suggests it’s a newfound respect for nature, yet despite Polsky’s captivating filming in the picturesque hills of the Blackfeet Reservation in Montana, nature never assumes a central role. It lingers in the background, serving as a silent witness to William’s deteriorating psyche and mounting guilt, yet remains too distant to breathe life into their relationship. Regrettably, “Butcher’s Crossing” disappoints as it flounders beneath the weight of human folly.

Film Credits

Cast
Nicolas Cage as Miller
Fred Hechinger as Will Andrews
Jeremy Bobb as Fred Schneider
Paul Raci as McDonald
Xander Berkeley as Charlie Hoge
Rachel Keller as Francine

Director
Gabe Polsky

Writer (novel)
John Williams

Writer
Gabe Polsky
Liam Satre-Meloy

Cinematographer
David Gallego

Editor
Nick Pezzillo

Composer
Leo Birenberg

By: M Z Hossain, Editor Sky Buzz Feed