If you’re looking for a clean, John Wayne style shootout where the hero rides off into the sunset with a smile, the outlaws and angels movie is absolutely not for you. Honestly, it’s one of those films that leaves you feeling like you need a shower immediately after the credits roll. Directed by JT Mollner and released back in 2016, this flick didn't just walk into the Western genre; it kicked the door down and set the house on fire. It’s brutal. It’s claustrophobic. It’s strangely beautiful in a way that feels a bit wrong to admit.
The story kicks off with a bank heist gone south. We meet a gang of cold-blooded killers led by Henry, played by Chad Michael Murray. Forget the teen heartthrob vibes from his One Tree Hill days. Here, he’s grimy, bearded, and looks like he hasn’t seen a bar of soap since the Civil War. His crew is fleeing toward the Mexican border, but they need a place to hole up for the night. They stumble upon the Tildon family—a seemingly pious, God-fearing household living in the middle of nowhere. What follows isn't a simple home invasion. It's a psychological meat grinder.
The Tildon Household and the Twist You Didn't See Coming
Most people expected a "good vs. evil" setup when they first sat down to watch the outlaws and angels movie. You’ve got the bad guys (the outlaws) and the innocent family (the angels). Except, Mollner decides to flip the script about forty minutes in. It turns out the "angels" in that house have secrets that might actually be darker than anything the bank robbers have done.
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The father, George Tildon, played by Luke Wilson, is a man of the cloth who hides a truly sickening nature behind his prayers. It’s a gutsy performance from Wilson, who we usually see as the likable guy. Here, he’s repellent. The dynamic shifts from a hostage situation to a weird, twisted liberation. You start finding yourself—disturbingly—rooting for the outlaws to settle the score inside the house.
The standout performance, though, belongs to Francesca Eastwood. As Florence Tildon, she goes through a transformation that is the emotional backbone of the film. She isn't just a victim. She becomes the most dangerous person in the room. There’s a specific scene involving a razor and a bathtub that perfectly encapsulates the film’s "no holds barred" approach. It's visceral.
Why the 35mm Film Choice Matters
You don't see many indie Westerns shot on Kodak 35mm anymore. It's expensive. It’s a hassle. But for the outlaws and angels movie, it was the right call. The grain gives the sunlight a harsh, yellow quality that makes the desert feel oppressive. Cinematographer Matthew Irving used the film stock to capture the sweat on the actors' faces and the dust in the air.
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- It creates a 1970s aesthetic reminiscent of Sam Peckinpah or Sergio Leone.
- The colors are saturated and "bloody," which fits the gore levels perfectly.
- The tight framing inside the Tildon cabin makes the viewer feel just as trapped as the characters.
Realism vs. Stylization: What the Critics Hated
When this movie hit Sundance, the reaction was… mixed, to put it lightly. Some critics called it a masterpiece of New Western cinema. Others thought it was gratuitous trash. Why the divide? Mostly because of the dialogue and the pacing.
The dialogue is highly stylized. It’s almost Shakespearean at times, which feels odd coming out of the mouths of dirt-covered bandits. Some viewers found it pretentious. I think it adds a layer of "grim fairy tale" to the whole thing. It’s not trying to be a documentary about the frontier. It’s a stage play with guns.
Also, the violence is unflinching. There is a specific subplot involving incestuous abuse that many found too difficult to stomach. It’s not "fun" violence like a Tarantino movie. It’s ugly. But that’s the point. Mollner is exploring the idea that "evil" isn't just someone with a gun; it’s often the person sitting at the dinner table with you.
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The Legacy of the Outlaws and Angels Movie
Nearly a decade after its release, the film has developed a bit of a cult following. It’s frequently cited in discussions about "Modern Westerns" alongside films like The Revenant or Brimstone. It didn't make a billion dollars at the box office, but it stuck in people's brains.
One thing people often get wrong is assuming this is a "feminist" Western in the traditional sense. While Florence takes control of her destiny, the path she takes is paved with blood and questionable choices. There are no heroes here. Just survivors.
What to Watch Next if You Liked This
If the gritty tone of the outlaws and angels movie resonated with you, there are a few other deep cuts you should check out. Bone Tomahawk is the obvious choice—it blends the Western with horror in a way that’s even more graphic. Then there’s The Nightingale, a Tasmanian Western that deals with similar themes of revenge and the loss of innocence.
Actionable Steps for the Viewer
If you’re planning to dive into this movie for the first time, keep these things in mind to get the most out of the experience:
- Check your triggers. Seriously. This movie deals with sexual assault, domestic abuse, and extreme gore. If those are deal-breakers for you, skip it.
- Focus on the sound design. The wind, the creaking floorboards, and the minimal score are intentional. It’s designed to make you feel uneasy.
- Watch the background. In the Tildon house, look at the set dressing. The religious iconography contrasted with the filth tells its own story.
- Compare it to "The Hateful Eight." Both films are stagey, one-room Westerns released around the same time. It's a great exercise in seeing how two different directors handle the same "trapped" setup.
The outlaws and angels movie remains a polarizing piece of cinema. It’s a film that demands your attention and then punishes you for giving it. Whether you love it or hate it, you can't deny that JT Mollner had a singular, uncompromising vision. In an era of polished, safe studio movies, there's something to be said for a film that’s willing to be this repulsive and this beautiful all at once.
Next Steps for Enthusiasts:
Start by watching the director's commentary if you can find the Blu-ray; Mollner explains the technical hurdles of shooting on 35mm in the desert. After that, look up the filmography of Francesca Eastwood—her work here is a masterclass in internal character shifts. Finally, read the 2016 Sundance reviews to see how drastically the public perception of "grindhouse" Westerns has shifted over the last few years.