It’s not a surprise that, with a decades-long history, even some of the best Western movies have many similar elements that bleed into one another. While this means some genre tropes are all but expected in these types of films, it can be a balancing act of typical genre ideas and a unique approach that makes a movie stand out. Sometimes, those scales can tip in the wrong direction. In the case of The Unholy Trinity, the scales equalize, though not just because of the events that unfold.
It’s as simplistic a Western story as they come: in the 1870s, a young man named Henry Broadway (Brandon Lessard) watches his father, Isaac, get executed for a crime he says he didn’t commit. He confides in Henry that it was someone from the remote town of Trinity, Montana that set him up, and asks his son to kill him. While in town, however, he runs across two figures: Sheriff Gabriel Dove (Pierce Brosnan) and St. Christopher (Samuel L. Jackson), key figures in the core struggle of the film’s high-octane story.
The Unholy Trinity’s Generic Setup Leaves Much To Be Desired
Its Three Leads Make Up For This With Fun Characters
While the setup for The Unholy Trinity felt generic right from the start, it quickly became apparent the story wasn’t going to add much new to the genre. The story included some surprising moments, especially at the beginning. However, these scenes, while serving to shock intrigue into the story, become few and far between the more it goes on. Instead of offering unique story elements, they tease some possible twists that only serve to bring the story right back to a revenge plot that doesn’t provide anything special in its presentation.
Luckily, the movie still excels at delivering some memorable characters thanks to its lead actors. Brosnan’s Gabriel is afforded plenty of time to dole out justice, emphasizing his unconventional approach to the way he handles crime in Trinity. Jackson’s role as St. Christopher was the most memorable part of the film. This was thanks to a boisterous atтιтude and infectious charm, stealing the show with every sharp-witted speech he made. Lessard’s Henry is usually just along for the ride, but still earns some moments to shine, especially in the back half.
Other characters also have their moments. Q’orianka Kilcher’s Running Cub is another standout, particularly as the movie starts to weave her storyline into the main plot. Veronica Ferres is memorable as Sarah, Gabriel’s wife, though she’s underutilized despite a strong performance. Gianni Capaldi’s always-aloof Gideon is another memorable character, though his storyline falls into the generic side of the Western. Despite these relatively important core performances, the three leads are really the most memorable in the entire film.
[T]here is something to be desired in dialogue sequences, which oftentimes feel stale in their composition.
These performances are complemented by a decent presentation of the movie’s events. Director Richard Gray (Murder at Yellowstone City, Robert the Bruce) spearheads how the film was put together, and does a good job at making the exciting moments pop. There’s plenty of work the film’s cinematographers and editors contributed to elevate the action-packed aspects of the film. However, there is something to be desired in dialogue sequences, which oftentimes feel stale in their composition.
Despite Its Flaws, The Unholy Trinity Is A Reasonably Fun Western
The Movie Keeps Up The Momentum All The Way Through
The strongest element of the movie is its dialogue, which is always sharp and to the point, with memorable lines from all its core characters. Lee Zachariah’s screenplay may be hindered by a mulтιтude of generic Western tropes, but the way characters speak stands out thanks to the writing. There’s a conversational flow in the dialogue that complements the performances, making even the most eye-rolling of confrontations an attention-grabbing event. It’s unfortunate that these positives don’t roll into the story itself, which is marred by predictable, uninteresting events.
At some point, it even feels like the movie stops being intrigued by the story it’s telling. One event late into the story feels like it should carry a heavier weight than it does, but everyone ignores how major a travesty it is for some characters. The movie makes a point to always carry on to the next idea in its story, and, by the end, becomes too engrossed in its generic aspects to commit to what makes it stand out. It makes its progression somewhat frustrating, especially when such strong performances are attached to its underwhelming script.
While The Unholy Trinity allows its stars to shine, the cookie-cutter story drags this movie down enough that it’s difficult to recommend. There are plenty of fun moments for Western fans to enjoy, but the story doesn’t offer enough intrigue to truly feel worthwhile in the end. It’s a decently predictable romp across 1870s Montana, with enough to keep engagement, but not enough to truly satisfy.
