Entertainment

‘Terror on the Prairie’ brings old Western school back to life


The American Dream around 2022 is a white fence, a steady salary and enough leisure time to enjoy the fruits of one’s labor.

Because Gina Carano’s character in “Terror on the Prairie, ”He is living on barren, cold land to feed his family. It wasn’t easy, and that was before a group of outlaws arrived at her doorstep.

That setting gives way to Western-influenced themes that make the genre so timeless.

  • Hard work
  • Sacrifice
  • Humble
  • Patience

And, for Carano’s character, be ready to do whatever it takes to protect your parents.

Carano plays Hattie McAllister, a native of St. Louis currently lives on an isolated ranch with her husband, Jeb (MMA star Donald “Cowboy” Cerrone). She is heartbroken and longs to be reunited with her family on a friendlier terrain, but Jeb insists they will stick to the plan.

It’s their land, it’s their home, and she has the guts to make it all a success, he assures her. Only Hattie was not convinced. They have two young children and she spends her days wrapping herself in layers to beat the cold.

Hattie put those worries aside when four men arrived at her property, eager for water and hospitality. Their true intentions are far more sinister, forcing Hattie to defend her family and home against them.

The film opens with a fascinating look at the film’s baddies, led by a Nick Searcy. From there, we see how the McAllisters live every day, a striking portrait of frontier life.

It is not beautiful.

“Terror on the Prairie” is a Daily Wire original produced by veteran filmmaker Dallas Sonnier. Like the platform’s previous films, there is little overt politics on screen. A closer look will reveal themes relevant to Western fans as well as left-wing Americans.

The film celebrates the strength and masculinity of a mother… without disclaimers like “toxic substances” being included in the mix. It’s about protecting one’s land and family, and that spirit extends to the film’s spectacular villain.

Kudo credits screenwriter Josiah Nelson for crafting Captain Miller’s nuanced storyline.

None of these topics feel out of place two decades ago, or even one. Now, with Hollywood’s wake up makeupthese qualities go beyond the screen.

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Director Michael Polish (“Twin Falls Idaho,” 2020 “Force of Nature”) uses classic Western imagery without copying and pasting the film’s aesthetic. The natural Montana climate does some of the heavy lifting, but Nelson’s script enhances that authentic beauty. It’s one of the best Western dialogues since “Bone Tomahawk,” also produced by Sonnier.

The movie isn’t as intensely bloody as the 2015 shocker, but it has its moments.

Searcy’s Captain Miller has the most engaging dialogue, a deft blend of chivalry and threats that amplifies his cruelty.

This is no joke movie stars with pearly white teeth throughout the motion. This is the living frontier at its most elemental, and it adds gravity to the unfolding events.

Searcy often plays authority figures, but his Captain Miller is both cunning and tragic. Aluminum “Gosnell” wisely avoids scenes of chewing. His intimidation stemmed from quoting Bible verses before punishing his victims. He lets his threatening body language do the rest.

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Tyler Fischer, Captain Miller’s right-hand man, wasn’t allowed to exploit his signature humor enough, and that was a mistake. The good thing is that the character’s weak personality and euphoric energy makes him pop even when he’s in the background.

“Terror on the Prairie” lags a bit in the middle thanks to an extended duration. Perhaps the larger budget would allow the production to insert flashbacks or other scenes to enhance the story. Otherwise, the series will continue to evolve, allowing us to marvel at how Hattie improvises on behalf of her children.

An element of surprise? The characters shoot, and shoot, and rarely hit their target. It’s a more realistic version of the Wild West gun game that offers another layer of realism.

“Terror on the Prairie” failed Check Bechdel, and it’s pathetic. Who cares? Carano is the main attraction, and she refuses to let Hattie become another Mary Sue superstar. Hattie struggles to deal with the snake threat at the beginning of the film, but events force her to become more resourceful and cunning.

Carano is not interested in feminist theater or showing us that women can do exactly what men can. First of all, Hattie is a mother, and she will be breastfeeding her toddler while planning the next march against Captain Miller’s crew.

It’s real empowerment, aside from the way Carano stood up to wake up Hollywood and just become a bigger star. And that’s one of the many reasons why “Terror on the Prairie” is a first-rate western.

Hit or miss: “Terror on the Prairie” has it all, from a puzzling villain to a heroine who doesn’t turn into Jane Bourne in the third act.

EDITOR’S NOTE: This reviewer is a contributor to The Daily Wire





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