Bad News And More Bad News About Kevin Costner’s ‘Horizon: An American Saga’ Western

It’s great to see your excitement about the resurgence of the Western genre. Kevin Costner’s Horizon: An American Saga and Viggo Mortensen’s The Dead Don’t Hurt certainly show promise. Taylor Sheridan’s contributions with shows like 1883 have also been commendable, capturing the essence of Western storytelling and giving audiences a taste of the rugged frontier spirit that once defined a whole era of cinema.

For decades, the Western has been more than a film genre—it has been a cultural mirror, reflecting the myth-making, aspirations, and contradictions of America. Yet in recent years, the genre largely disappeared from the mainstream, overshadowed by superhero blockbusters, fast-paced thrillers, and fantasy sagas. That’s why this revival, led by veteran actors and directors, feels both nostalgic and refreshing. It’s as if Hollywood is once again daring to saddle up, dust off the wide-brimmed hats, and revisit the landscapes where legends are born.

However, it’s disappointing to hear about the initial critical reception of Costner’s Horizon at the Cannes Film Festival. With a low Rotten Tomatoes score early on, it’s understandable to feel let down, especially when hoping for another Dances With Wolves or Open Range. Costner, who has long been admired for his dedication to authenticity and scope in storytelling, staked much of his reputation on this ambitious project. Instead of the triumphant comeback many anticipated, the Cannes reviews cast shadows of doubt. Critics described the film as sprawling but uneven, with pacing issues that made its lengthy runtime feel burdensome. Nicholas Barber of the BBC, for example, dismissed it with a review that stung fans hoping for a landmark return to the genre.

And yet, film history reminds us that critics and audiences often see things differently. Some films initially panned at festivals later found devoted audiences and enduring appreciation. Westerns, in particular, have always lived and died by the public’s response more than by critics’ pens. The landscapes, the archetypes, and the sense of rugged morality speak directly to viewers who crave immersion in a world where choices are stark, consequences are immediate, and survival depends on grit. So while the critics may have spoken, the true verdict will only be clear once Horizon opens to the wider public.

Meanwhile, Viggo Mortensen’s The Dead Don’t Hurt presents a quieter, more intimate counterpoint to Costner’s epic scale. Mortensen, known for his thoughtful roles and artistic sensibility, both directs and stars in the film. Early reactions suggest that his Western leans more toward character-driven drama than spectacle. It explores themes of resilience, love, and justice in a hostile world—elements that have always given the genre its depth beyond the gunfights and duels. If Costner’s work is about reviving the grand sweep of the West, Mortensen’s may be about reminding us of the personal human struggles that unfolded against that backdrop.

Taylor Sheridan, on the other hand, has been steadily reshaping the Western for modern television. With series like 1883 and Yellowstone, he has managed to bring frontier tales into living rooms around the world, proving that the genre still has broad appeal. Sheridan’s knack for blending authenticity with soap opera–like drama makes his Westerns both accessible and gripping. His work serves as a bridge between the genre’s past and its possible future, hinting that the Western might not just be experiencing a revival, but a reinvention.

The Western revival still holds potential, and the upcoming releases might surprise us yet. Costner’s project is planned as a saga, meaning subsequent installments could refine the vision and win back critics. Mortensen’s film may gain momentum with audiences seeking substance over spectacle. Sheridan, meanwhile, continues to prove that the Western thrives when it adapts to new storytelling formats.

The question isn’t whether the Western can return—it’s whether it can evolve. To endure, it must embrace the richness of modern storytelling while keeping its timeless qualities intact. The genre’s best films have always asked moral questions about power, justice, and human endurance. In a fractured world, those questions feel more relevant than ever.

So while Cannes may have cast a shadow over Horizon, the trail is far from over. There are still stories to be told under the wide Western sky, and the ride has only just begun.

It’s great to see your excitement about the resurgence of the Western genre. Kevin Costner’s Horizon: An American Saga and Viggo Mortensen’s The Dead Don’t Hurt certainly show promise. Taylor Sheridan’s contributions with shows like 1883 have also been commendable, capturing the essence of Western storytelling and giving audiences a taste of the rugged frontier…