Ed Harris did not come like a clear head man 44 years ago when he played in The highly offset “Knightriders” of George A. Romero, “ But there was something about the 32 -year -old bald actor with piercing blue eyes, Paul Newman who drew your attention. It could be steel, tender and a little goof. These qualities continued to be obvious in films like “The Right Stuff”, “Alamo Bay” and “Sweet Dreams”, so he finally had the chance to co-host a massive Hollywood production in 1989 with “The Abyss” by James Cameron. He acceded to the mission (just like his co-star Mary Elizabeth Mastraunio), but the film has underperformed the box office (even if it is always the best thing that Cameron has ever achieved), so he became more a character actor throughout the 1990s when he personally developed his next leading role.

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Harris does His beginnings as a director with “Pollock” ,, A biopic on the revolutionary abstract painter Jackson Pollock, and gave a fiercely committed performance which has more than justified the 10 years that he spent trying to bring the project to the screen. As a filmmaker, Harris brought an intensity of buzzing to his exploration of an artist who is difficult to bite. It was not a film that displayed the dazzling cinematographic technique, but it put you on the wavelength of a man who seemed to vomit his interior disorders on the web. Although “Pollock” obeys certain Hoary biopical conventions, Harris’s thrilling energy in front and behind the camera distinguishes him from other films of his kind.

When he received an appointment from the best actor for “Pollock”, those of us who came to venerate Harris as one of the most interesting cinema stars of his time had great hopes that he would continue to generate head pieces for himself while continuing to make his actor’s extremely satisfactory actor in major Hollywood films. He did good on the latter but did not decide again behind the camera before 2008. For any reason, despite the receptions mainly of good criticisms (she has a fresh 77% note at Rotten Tomatoes), this second effort as director was completely forgotten.

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Surprisingly, despite the possession of a finely altered face and sometimes a gruff behavior, Harris had never appeared in a traditional Westerner before directing an adaptation of “Appaloosa” by Robert B. Parker. About 10 minutes after the start of the film, you realize that he was positively born of the genre, both as an actor and filmmaker.

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The film is a simple thread of a few of independent legislators, Harris and Viggo Mortensen (a strange “A story of violence”), which is recruited in cities in danger of being overwhelmed by a criminal element. At the start of the film, Harris and Mortensen find themselves settling in the titular city, which is terrorized by a vicious breeder (a deliciously nasty Jeremy) who believes that he is above the law. It is a conventionally drawn tale reinforced by a firmly structured scenario of Harris and Robert Knott, but it stands out from other modern westerns because Harris devotes a little additional time to the development of each pivot character.

Harris and Mortensen are perfectly twinned like some old peacekeepers who may reach the end of their usefulness. They certainly cannot continue to clean cities longer, so when Harris’ sheriff falls in the lead for a fiercely independent widowed musician (Renée Zellweger), he hears wedding bells. Harris and Zellweger are great in their scenes, which lets you wish to connect again.

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