‘A Million Ways to Die in the West’ Review

By Jorge Carreon

Barely a month into the entire Summer Movies of 2014 shebang and already I want to take a vacation from any more Hollywood films. In terms of the genre film, after the early promise offered by “Captain America: The Winter Soldier,” we’ve been treated to a monstrously underdone “Godzilla” (my review here) and the less than excellent “X-Men: Days of Future Past” (my review here). Is it possible the best versions of this season’s event films are to be found as trailers? Has marketing replaced popcorn filmmaking altogether? Perish the thought. But as you decide what to see this weekend, take the following into consideration. Both “A Million Ways to Die in the West” and “Maleficent” (my review here) offer rather daring takes on classic elements of cinematic storytelling. Yet, only the Seth MacFarlane comedy did it right.

Thanks to “The Hangover,” summer now belongs to the R-rated comedy. When it works, like the original “Hangover” to “Bridesmaids,” “The Heat” and “This is The End” to this year’s “Neighbors,” they are instantly ushered into the pop culture pantheon. (When they don’t, you have the other “Hangover” films, “Project X” and “We’re the Millers.” Oh the shame!)

The 2012 release of “Ted” not only continued the momentum, it turned TV icon Seth MacFarlane into one of the most promising filmmakers of the moment. With “A Million Ways to Die in the West,” that promise is more than fulfilled. Joined by “Family Guy” (and “Ted”) writers Alec Sulkin and Wellesley Wild, MacFarlane took the bold step of sending up a genre that has trouble connecting with a modern audience: the western. It may be high falutin’ to call it the “Blazing Saddles” of our time, but it also channels the rebel spirit of “Animal House” to the parody fun of “The Naked Gun” films at the same time. Yet MacFarlane and company are not just content with lampooning films of the past. Given the amount of creative freedom they’ve been granted, “A Million Ways…” just stands beautifully on its own. Perhaps the boldest aspect of the film is having MacFarlane act in his own movie, resulting in one of its strongest assets.

“A Million Ways…” may be set in the savage lands of 1882 Arizona, but it sure doesn’t sound like it. As misplaced sheep farmer Albert, MacFarlane comes across as a more charming Woody Allen. Sure he’s a bit neurotic, but his laser precise observations about life in the west are quotable gems. More, he connects us 2014 folks to these days of the west long passed. Once the film steps into its main conflict of Albert having to fend off the deadliest gunslinger of the age (Liam Neeson), “A Million Ways…” shifts into overdrive to become more than a one-joke pony: it’s a hero’s story.

MacFarlane is one generous filmmaker and one of his best strengths is to share the comedy wealth with people who can bring the funny. Neil Patrick Harris steals his scenes with mustache twirling panache, even when it reaches a scatological peak that makes you appreciate the work of a sound effects team. The same for Sarah Silverman, whose sexual frankness as a prostitute with a loving, virgin boyfriend (Giovanni Ribisi) pushes the boundaries of taste with the most earnest of deliveries. And thank goodness Neeson has been freed from the confines of international terrorists for a change to deliver his second winning comedy performances this year. (“The LEGO Movie anyone?) However, what really elevates MacFarlane’s game is co-star Charlize Theron as the gunslinger’s wife, Anna.

What also proves surprising about “A Million Ways…” is not its jaw dropping displays of political incorrectness or the deliciously random celebrity cameos (best pay attention because they’re worth it). Who knew the film would possess a romantic heart represented by two people who just fit together? Just as Anna teaches Albert to survive the west, Theron is leading MacFarlane to deliver a nuanced character study, too. Their chemistry is tangible and Theron has never been more sexy, engaging or relaxed on screen.

Great care and craft went into recreating the period with director MacFarlane going to lengthy measures to give the film real scope. Vistas are breathtaking, mirroring the grand vision of John Ford. More, Joel McNeely’s beautifully orchestrated score just makes it all feel bigger and bolder. Sure, the shock and awe of MacFarlane’s brand of comedy has its limitations. Like Judd Apatow, less could be so much more in terms of running time and other narrative lapses that occur in the third act. Still, given the strength of the material and the might of a very game ensemble cast, “A Million Ways…” towers over the perfunctory fan boy-driven dross that’s clogging up the multiplex. There really is comic gold up in them hills.

“A Million Ways to Die in the West” is now playing nationwide.