10 Incredible Neo-Western Films You Must Watch

      Casey Chong presents a list of outstanding neo-Western films you should not miss...

      The classic Western era of John Wayne may have faded away but remains memorable. While the Western genre is no longer a guaranteed box-office hit as it once was, it continues to hold its place in modern cinema, especially through the neo-Western subgenre. This subgenre takes traditional Western themes and archetypes, updates the settings, and blends in elements from various genres such as action thrillers, crime dramas, horror, and even comedy. Here are ten notable neo-Westerns to explore if you haven't seen them yet...

      **Extreme Prejudice (1987)**

      This action-packed film, directed by Walter Hill, is a prime yet often overlooked entry in his filmography—a gritty War on Drugs thriller with neo-Western elements. The film brings Hill back together with his 48 Hrs. star Nick Nolte, portraying a no-nonsense Texas Ranger named Jack Benteen, who seeks to stop his childhood friend-turned-drug dealer, played by the profoundly sleazy Powers Boothe as Cash Bailey. The plot thickens with the involvement of a member of the Zombie Unit, led by Michael Ironside’s Major Paul Hackett, who is on a dubious mission alongside his fellow soldiers, who have reportedly fallen in combat. The film's storytelling may take a while to connect Jack and Cash’s rivalry with the Zombie Unit’s mission, resulting in a somewhat uneven pace. Nevertheless, Hill's strong direction propels the film with significant stakes and plenty of visceral action sequences to keep audiences engaged. He also pays tribute to Sam Peckinpah’s The Wild Bunch, especially evident in the climactic shootout in a dusty Mexican town.

      **Last Man Standing (1996)**

      Walter Hill's Last Man Standing, despite its poor box office performance, is far better than its reception suggests. Drawing inspiration from Akira Kurosawa’s classic Yojimbo and transforming it into a blend of neo-Western and gangster genres, Hill delivers a stylish version of a Prohibition-era narrative featuring a mysterious drifter, John Smith (a perfectly apathetic Bruce Willis), who finds himself entangled in a conflict between the Irish and Italian mafia. The film's stylization is evident in the gunfights that resemble John Woo's choreography, infused with Peckinpah-style slow-motion violence. Bruce Willis’s John Smith evokes the archetypal gunslinger reminiscent of Clint Eastwood’s character in The Man with No Name, distinguishing himself by wielding two pistols. The film is further enhanced by Ry Cooder’s jazzy score and Lloyd Ahern’s cinematography, which captures the ominous, sun-drenched aesthetics of a town filled with tension.

      **Vampires (1998)**

      Despite its generic title, John Carpenter’s adaptation of John Steakley’s 1990 novel deftly merges neo-Western and vampire horror elements. With an entertaining B-movie ambiance and a commanding performance from James Woods as the audacious leader of the vampire hunters, the film proves to be an enjoyable experience. The action-packed opening sequence sets the stage with Carpenter showcasing Woods's character, Jack Crow, along with his team as they raid vampires hiding in an abandoned house in New Mexico. The film also introduces the formidable Jan Valek, played by Thomas Ian Griffith. Though Vampires didn’t perform well financially, it surprisingly spawned two direct-to-video sequels: Vampires: Los Muertos and Vampires: The Turning.

      **No Country for Old Men (2007)**

      No discussion of neo-Westerns is complete without No Country for Old Men, which earned the Coen Brothers the prestigious Best Picture Oscar. The film also secured three additional awards, notably Javier Bardem's unforgettable Best Supporting Actor win for his role as the merciless hitman Anton Chigurh, who takes delight in murdering his victims, especially relishing the moment of determining their fate with a coin toss. Chigurh’s chilling gaze cultivates a sense of dread, complemented by his apathetic demeanor, rendering him a terrifying and indelible villain. The Coen brothers’ darkly cynical approach to the neo-Western genre allows the film to explore uncharted territory, subverting the typical good versus evil narrative.

      **Wind River (2017)**

      In Wind River, Taylor Sheridan's exploration of the modern American frontier combines neo-Western elements with a murder mystery and crime procedural. The film exhibits solid storytelling that prioritizes deliberate pacing and well-developed characters, bolstered by the compelling performances of Jeremy Renner and Elizabeth Olsen. Sheridan doesn’t shy away from confronting the harsh realities of sexual assault and violence, with the unforgiving Wyoming wilderness adding to the ominous tone of the narrative. The film examines the grim circumstances and lawlessness experienced by Native Americans, underscoring Sheridan's directorial talent (this is his second feature following 2011’s Vile) and his prowess in screenwriting. Wind River