Venice Review: Wild Horse Nine Is a Brutal CIA Parody with Elements of Memento and SpongeBob Squarepants

      The trailer for Wild Horse Nine appears to be nothing more than a parody of Martin McDonagh’s renowned and respected style. The line, “How many times did the line about killing a guy in/spelling Czechoslovakia have to play during World Cup hydration breaks before you lost it?” serves as this film's version of the classic query, “How many licks does it take to get to the center of a Tootsie Pop?” Despite the confidence the trailers instilled regarding potential monotony, Wild Horse Nine is far from derivative, tedious, kitschy, unfunny, or halfhearted. It is, in a sense, exactly what you anticipate, exactly what is promised. Yet again, McDonagh delivers with remarkable strength, demonstrating that his fame and success in filmmaking have not diminished his artistic creativity in any way.

      Chris and Lee have been partners in CIA operations for a considerable time. Lee (Sam Rockwell) is relatively new to the field; while he isn’t a novice, he is still light years away from the reputation Chris (John Malkovich) has built over the years. Chris is a kingpin of coup d’états, a figure of royalty in the realm of CIA global counterinsurgency. He was involved in the overthrow of President Árbenz, which effectively ended the Guatemalan Revolution for democracy in 1954. His significant contributions in Cuba for the CIA occurred in 1960 and again in ‘61 during the Bay of Pigs Invasion. He was also in Dallas on November 22, 1963, for work.

      In summary, the two— as Chris casually tells a couple of unsuspecting Chilean socialists at the airport—are responsible for destabilizing democracies at the request of the US government. It is February 1973 in Santiago, where the hitmen find themselves for the very same purpose. By the time they are heading towards Easter Island, several thousand miles off Chile’s coast, the Pinochet-led coup has already been planned for September 11. For the moment, their assignments are complete, and as inseparable partners, they decide to vacation in the Indigenously named Rapa Nui.

      The very fact it has an Indigenous name infuriates Chris to no end. A smug and overtly pro-fascist instigator, organizer, and action-taker, Chris experiences minor panic attacks regarding the rise of liberalism every time he hears the word “Indigenous” without an associated plan for sabotage. He is an openly reprehensible character. However, McDonagh’s skill lies in making him oddly charming, portraying Chris in both an endearing and relatable light. For one, he is humorously outdated—similar to the stereotypical highly opinionated, socially detached conservative father recognizable to anyone familiar with the type. Additionally, he speaks candidly and does not always insist on discussing politics. McDonagh’s existential edge remains sharp in Chris’ universal reflections. Finally, with his battle against cancer, he finds himself engaging in deep introspection.

      Similar to Malkovich’s role as CIA operative Osborne Cox in Burn After Reading, Chris records his memoirs reflectively, now with death looming nearby. He appears rather quick-witted, making it hard to believe he is nearing the end of his life. However, contextual hints suggest differently. Regardless, Chris is not keen on enduring a battle with cancer. Though he does not remember it, he actually asked Lee if they could go to Easter Island so that Lee could kill him without the concern of an Easter Island police investigation into a “murder.” Unsurprisingly, Lee is deeply conflicted and heartbroken by this request.

      CIA supervisor MJ (Steve Buscemi) constantly nudges Lee for information about a pivotal moment in Chris’ career: what became of the rifle that killed JFK? As far as anyone is aware, Chris was responsible for its procurement and disposal, but MJ harbors suspicions that Chris still possesses the weapon and wants Lee to determine its whereabouts before Chris passes. In essence, MJ is urging Lee to pay attention to Chris’ memoirs. Adding to the scenario's intrigue, MJ instructs Lee to eliminate Chris once he gathers the desired information.

      McDonagh’s fifth feature firmly reinforces his central thematic interests. It represents his third film focusing on male friendships strained by adversity, exploring the beauty and challenges of such relationships amid work, changing personalities, and social alienation. In addition to the influences from In Bruges and Banshees of Inisherin, Wild Horse Nine also echoes themes from Memento and the “Dying for Pie” episode of SpongeBob SquarePants. It presents a compelling, distinctive McDonagh narrative complemented by a touching score from Carter Burwell. Chris’ declining memory necessitates that he leave notes for himself to remember crucial information in the future, even if he is uncertain about when or why he wrote them (e.g., “Don’t trust