It isn't up to standard.
Summary SCREENRANT VIDEO OF THE DAY SCROLL TO CONTINUE WITH CONTENT Viggo Mortensen takes us to the 1860s Western frontier for a story that is as sensitive as it is violent, and as romantic as it is tragic. The Dead Don’t Hurt follows Holger Olsen , a Danish immigrant who makes a living as a carpenter. The somewhat recluse finds his life changed when he falls in love with Vivienne LeCoudy , a French Canadian immigrant who lives against societal expectations.
The Dead Don't Hurt is a prime example of doing the bare minimum to mitigate the issues of authenticity and genre reinvention, meaning Mortensen wants to claim this story as some sort of feminist Western without actually doing the work to produce a Western that celebrates and uplifts the feminine experience.
Watching The Dead Don’t Hurt reminded me of the miniseries Godless, which told the story of a small mining town that suddenly became the western Garden of Eden when all the men died in an accident. While the show had its moments highlighting the strength and resilience of women, it ultimately was more about how these women lived in the absence of men and not how they would live in spite of them.
Vicky Krieps Is The Saving Grace Of The Dead Don't Hurt Mortensen's Western is ultimately a misguided one Close Mortensen’s script lacks originality and vibrancy. The best of The Dead Don't Hurt is hardly on the page; it's Mortensen and Krieps’ chemistry. With the romance being the film's emotional crux, the scenes featuring the two are authentic and refreshing. While the film is clumsy with its non-linear structure, it's well crafted and Mortensen's directing sound.
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