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Based on 17 critic reviews provided by
The motivations and the performances are solid in Jane Got A Gun, an attractively mounted post-Civil War revenge drama with plenty of shooting and a well-placed twist or two.
A solidly made and conventionally satisfying Western.
Jane Got A Gun may not have reinvented the wagon wheel, but it rolls out as a sturdy, well-crafted genre piece despite its rocky road to the screen.
Jane Got a Gun takes long pauses in the action to chronicle through flashbacks how this love triangle comes to defend a single home. The film’s greatest surprise is that these unabashedly emotional flashbacks work.
Jane Got a Gun has its good points and less demanding fans of the Western genre may find some value in it, especially considering how few films of its type actually get made these days.
Even when the movie focuses on its imagery rather than its plot mechanics, it seems intent on covering its bases rather than committing to a particular look or mood.
Since the film’s last-minute rewrites, casting switcheroos, and musical chairs behind the camera are irrelevant to the actual quality of the movie, I’ll avoid rehashing them here, save to say that the disarray shows on screen.
Put the evidence together, and it’s no surprise that this poor little movie fires blanks. It never wanted to be a Western at all.
A handful of plot twists are not enough to compensate for an overtly heavy, often dreary affair that rides straight into the final standoff with little elegance and a wagon train of pathos.
Whatever feminist angle the film might have once aspired to is lost in its listless shuffle.

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