Writer/director Martin McDonagh has continually proven to be a voice I really respond to. Long after Tarantino inspired many filmmakers to deliver hip gangster movies, McDonagh feels more like a sobering reminder that, for all the bluster that can come from the fantastical cinematic vision of being a fast-talking assassin, these are still people who must face the consequences of their actions. Even with McDonagh’s non-assassin-centric features, Three Billboards… and The Banshees of Inisherin, there’s an incredible amount of heart and introspection beneath the constant swearing and grisly details. Wild Horse Nine fits that mix, balancing its prickly nature with plenty of laughs, dark or otherwise. Getting over the bleakness may feel like a challenge for some, but there certainly is a lot of beauty to see on Easter Island.
John Malkovich and Sam Rockwell star as Chris and Lee, two CIA officers stationed in Chile. It’s 1973, and socialist President Salvador Allende is currently in power. Without getting into history, a coup is coming, and the U.S. presence in the country isn’t a mistake. But that’s getting ahead of things. Chris and Lee are dispatched to Easter Island by their bureau chief, MJ (Steve Buscemi), for some R&R. The two accept, bicker along the way, and Lee constantly has to remind his mentor to hush up about the kind of work they do. Here’s the thing – Chris has terminal cancer. He knows he’s dying, but his memory is starting to produce gaps, among other issues. Is this trip really an excuse for Lee to get Chris out of the picture? A bigger question is how aware each party is of the possible scenario at hand.
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This story could support an entertaining spy-vs-spy-spy film. Imagine a back-and-forth between Chris and Lee focused on whether one will get the better of the other, with both knowing an assignment is out there to stop a loose cannon from saying too much. However, that’s not the film that is presented. McDonagh has more on his mind than those sorts of thrills. The reasoning has to do with the conscience both men possess. Sure, they have a certain moral flexibility that aided in what they’ve accomplished during their time as spies (Chris basically makes it clear that he’s the one who actually shot JFK), but with time to get away from it all and having death on the mind, there’s now more for them to consider.
Making this work to its fullest, Malkovich and Rockwell are both stellar, but it really is the Malkovich show. Mixing his dry sense of humor with the way he uses his speech rhythms to build a unique presence, there is so much fun to be had in the way he presents himself here. That said, we learn a lot about how aware he is of his condition, that he knows his memory is out of alignment, and how he feels the weight of his past as he begins to consider what will lie beyond his time living.
Rockwell is less showy by comparison, but he’s still more than game to lean into what makes him such an effective performer. He makes his arguments with everyone else quite fun, including a couple of scenes shared over the phone with his wife Marge (a funny-as-usual Parker Posey). That said, the film makes it clear that Rockwell’s Lee values Chris as a friend and mentor. He knows something needs to be done to satisfy both his bosses and Chris himself, but some jobs aren’t as simple as they may seem.
With these strong performances in mind, the film almost feels like it’s challenging its audience to appreciate it more. Heading to Easter Island makes for a very fitting location, as this is a very stripped-down affair. There are only a few speaking parts, and even then, some interactions border on making characters feel unlikable without a reason to celebrate that angle. Plus, the island itself may be a paradise, but it’s not the same as a tropical locale in the South Pacific. Even composer Carter Burwell feels as though he’s being held back from delivering a more sweeping score to go with the visuals. The point is that Wild Horse Nine is more than willing to push viewers to the brink, much like where we see Chris now.
However, there is beauty to take in. Beyond the good amount of humor that does factor into what we are watching, so much of the film feels in love with its setting. The film doesn’t take the depiction of Easter Island for granted. Yes, we get to see the famous moai (the big head statues), but the film constantly reminds us of the island’s beauty through wide shots and expanded views from above. Best of all, however, is the presence of the wild horses, which can serve as any number of thematic ideas concerning these characters. Chris certainly takes a shine to them, and they would surely be a part of the memoir he continually threatens to write (to the chagrin of Buscemi’s MJ) given the chance.
As an espionage comedy that tackles the concept of dying, machismo from an introspective level, along with whatever political commentary one may want to take away from all of this, Wild Horse Nine is not short on value. Seeing the charm beneath its cynical coating may take more effort than some of McDonagh’s previous successes, though this certainly feels like a cousin to his breakout film, In Bruges. Of course, that film explored whether there was a way to find hope in one of the bleakest scenarios. Here, one must consider if their perspective on life as they approach the end means anything after years of improper actions and running wild.
Wild Horse Nine opens in theaters on November 6, 2026.
