Wild Horse Nine (2026) – Film Review
Director: Martin McDonagh
Cast: John Malkovich, Sam Rockwell, Steve Buscemi
Certificate: 15
By David Reid
A new Martin McDonagh film is always an item of interest, bearing in mind the pedigree of his previous work: In Bruges, Three Billboards Outside Ebbing, Missouri and The Banshees of Inisherin. As he has a particular style in his writing, anticipation grows amongst those who have enjoyed any – or all – of his previous work.
The opening scenes introduce a Chilean setting in 1973, just before the military coup. Chris Carlisle (John Malkovich) and Lee Chesterfield (Sam Rockwell) are CIA operatives based in Chile, taking an excursion to Easter Island. They have a meeting with MJ (Steve Buscemi). MJ is their boss and also the head of CIA operations in South America. The pair are seen arguing in the airport departure lounge. John Malkovich’s character is less than candid, bearing in mind his day job. By the time he gets on the plane, he becomes positively gung-ho. However, prior to this, they encounter two young Chilean women who, as it turns out, are also travelling to Easter Island.
“Verbal sparring”
On arrival, Chris is keen to view the moai, the monolithic stone figures created by the Rapa Nui people for which the island is perhaps best known. However, Chris and Lee refer to them as ‘the big heads’. They denigrate other characters’ use of the word ‘indigenous’ in reference to the local people. This can be taken as an indication of an American worldview of the time in respect of other places. It may also be a comment upon politically disruptive US activity in other countries being the rule rather than the exception. Chris and Lee certainly share some of their reminiscences of their work in other countries over the decades to reinforce this view.
Despite these attitudes, Chris seems entranced by the moai sculptures and mesmerised by the wild horses that roam the island. Both lend an otherworldly – even mystical – sense to proceedings. This is enhanced by the cinematography, provided by Ben Davis, a regular collaborator with Martin McDonagh. The plan for their stay and their objectives aren’t immediately clear. Lee communicates with his wife (Parker Posey, The White Lotus) by phone. There are clearly stresses in the relationship, which provide material for banter between Chris and Lee. Indeed, it is the relationship and constant verbal sparring between the two lead characters that provide the central focus of the film. In this respect, the style and substance of the film most closely reflect Martin McDonagh’s work in In Bruges, released in 2008.
“Poignant”
As the narrative develops, guns are produced – and, on occasion, used. This is a Martin McDonagh film, after all. The violence is not excessive, nor at odds with the characterisations and the arc of the storyline. As was the case with In Bruges, the main characters debate a variety of topics, including European cheese and alternative styles of Westerns, for comic effect. The comedy here is never far away, even as the action moves towards a poignant conclusion. There is an enjoyable cameo by the veteran actor and musician Tom Waits.
The soundtrack is an interesting, eclectic mix of South American music and North American mainstream tracks, alongside songs by the Rolling Stones, with Hank Williams and Joni Mitchell among the featured artists.
For this reviewer, the film isn’t as intense, nor is the delivery of the dialogue as sharp as in In Bruges. These are different characters, and the narrative unfolds at a more leisurely pace, with the characters less driven. This leaves the reviewer less invested in their story, with the feeling that more could have been asked of this ensemble of proven character actors. Nevertheless, although not as satisfying a watch as In Bruges, which has gained cult status over the years, this is an enjoyable film.
David’s passion for cinema began with his first trip to the movies during The Troubles in Northern Ireland, where a screening of Jaws was dramatically interrupted by a bomb scare. Growing up in such an environment made entertainment scarce, deepening his appreciation for film and the arts. Over 25 years ago, he won a national film review competition, earning free cinema for life. This experience has allowed him to explore a vast range of genres and storytelling techniques. His reviews aim to provide insightful commentary without spoiling key surprises, helping audiences decide if a film is for them. He believes great filmmaking is rooted in strong storytelling, engaging viewers through narrative depth and presentation.
