‘The Unholy Trinity’ Review: Pierce Brosnan and Samuel L. Jackson Star in a Boilerplate Western That Fires Too Many Blanks

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Tracing its roots as far back as “The Great Train Robbery” in 1903, the western movie genre has been a mainstay in filmmaking for quite some time – an area where it might seem that there’s little left unexplored due to extensive prior work.

It’s even more disheartening when a fresh Western movie like Richard Gray’s “The Unholy Trinity” fails to offer anything new, instead recycling old ideas and presenting them in a bland, unoriginal manner that echoes previous films we’ve watched.

This action-packed game, at its best, showcases strong performances by veterans Pierce Brosnan and Samuel L. Jackson, with the latter sporting an impressive set of graying sideburns. However, despite their efforts, even these seasoned actors struggle to save a storyline that’s overly complex and predictable, filled with bloody feuds, betrayals, stolen gold bars, and countless clichéd lines. All of this unfolds against the breathtaking backdrop of Montana.

The standout feature of the film might have been the advanced age of its lead actors, Brosnan being 72 and Jackson 76. However, the script by Lee Zachariah rarely acknowledges their seniority as they portray characters that appear to be about two or three decades younger. In a late scene, Sheriff Dove, played by Brosnan, jumps off a rooftop and lands unharmed, which seems unlikely for someone his age and might require immediate knee surgery. While it’s important not to discriminate based on age in movies, a bit of realism would have been appreciated.

The storyline of “The Unholy Trinity” centers around a character named Henry Broadway (Brandon Lessard), who is a much younger man. In the opening scene, he witnesses the execution of his father (Tim Daly) and vows to exact revenge immediately. However, he is naive and too passive, and he unintentionally arrives in the picturesque town of Trinity, MT, with the intention of taking down the corrupt sheriff whom he believes was responsible for his father’s death. Unfortunately, he learns that the sheriff has already passed away and is buried. A character named Dove then appears on the scene as the new authority figure in town, managing to dissuade Broadway from turning Trinity into a replica of the OK Corral – at least for now.

Simultaneously, a shady traveler named St. Christophe (Jackson) is closing in on Broadway’s footsteps, managing to catch up with the young man. He then discloses a shocking truth: his late father wasn’t an honest man as believed; instead, he was a swindler who had stolen a chest filled with gold, which was buried somewhere within the town he helped construct.

Additional questionable characters emerge, such as a vigilante named Gianni Gapaldi, intent on avenging a sheriff he thinks was murdered by a native girl (Q’orianka Kilcher) concealed in the nearby hills; a group of outlaws engaging in a gunfight with Broadway at the local whorehouse, resulting in the death of a prostitute (Katrina Bowden), leaving her child without parents; and David Arquette, whose character is meant to be a corrupt priest, yet dies before making any real impact.

The movie makers cram numerous occurrences of violence and chaos, yet none of the scenes leave a lasting impression. Westerns are similar to Renaissance paintings in cinema: They often depict the same basic themes, but it’s the way they are portrayed that makes them unique. Unfortunately, Gray contributes nothing fresh or original, instead relying heavily on modern classics like “Unforgiven”, without offering a unique perspective of his own.

As a gamer, I can’t help but feel that the dialogue in this game seems like it was churned out by some massive AI scriptwriter, recycling tired tropes we’ve seen way too many times. Lines such as “It looks like there’s no law around here…” or “What you’re after isn’t justice; it’s vengeance” lose their impact when they’re delivered without a hint of subtlety or originality. It makes me question if the creators are still stuck in the past.

As a fan, I must admit that Brosnan and Jackson certainly liven up the mix, with Brosnan’s rich Irish accent adding a unique flavor, and Jackson’s distinct deadpan delivery keeping things interesting. However, the rest of the cast seems somewhat inconsistent, with some scenes falling flat enough to border on parody.

As a filmmaker, Gray appears genuinely dedicated to resurrecting the classic formula of westerns, not only in this current production, but also in his previous work, “Murder at Yellowstone City” (which hasn’t been released theatrically in the U.S.). However, he’ll need to significantly raise his skill level if he aims to captivate audiences in a genre that has recently enjoyed a resurgence on streaming platforms, but still struggles to attract viewers on the big screen where it originated.

Gray, who was also an executive producer on the unsuccessful western starring Alec Baldwin called “Rust“, skillfully utilizes the scenic locations of Montana, setting almost every outdoor shot against a striking backdrop of towering mountains and vast skies. The cinematographer Thomas Scott Stanton and production designer Tessla Hastings both offer commendable work in a tech package that partially makes up for the director’s underwhelming efforts to evoke the spirit of the old west and create dynamic action scenes.

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2025-06-11 22:25