The main reason that I was excited to check out In a Valley of Violence is its director: Ti West. I’m not a super fan, but I appreciate West’s approach to crafting atmospheric films that are content to rely on tone and methodical pacing to create tension. The House of the Devil and The Innkeepers were both refreshing in that sense and while I acknowledge that not everyone feels the same about his directorial choices, I find West’s more adult approach to genre films a welcome change of pace from many studio outputs.

The context is important because In a Valley of Violence is not a traditional Ti West film. First and foremost, this isn’t a horror film. This is a straight up classic Western; West isn’t even interested in a revisionist take on the genre. If anything, the film feels more like West’s attempt to broaden his own authorial style by delving into the well-established conventions and iconographies of a complete different kind of film.

In that sense he more than succeeds. In a Valley of Violence has all of the aesthetics you expect from an old Western film. The look, tone and sense of place – in this case a down-on-its luck dustbowl whose denizens have survived the closure of the town mine – are all pitch perfect. Star Ethan Hawke (creating some mild cognitive dissonance between this and his very different character in The Magnificent Seven) is Paul, the quintessential quiet drifter who avoids trouble and somehow winds up in the middle of it when he unintentionally initiates a series of events that will leave a half dozen men dead.

The film follows a familiar revenge narrative, but it’s the unexpected elements that make In a Valley of Violence memorable. Expecting major revisionist twists would be a mistake, but the character work certainly has a modern vibe. First and foremost is Gilly (James Ransone), the local hothead who also happens to be the town’s Deputy. Ransone is hilariously over the top and he leans into Gilly’s despicable characteristics with vigour. Similarly as Gilly’s fiancé Ellen, Karen Gillen does solid work in a small role, imbuing her gold digging character with great humour (even if it is difficult to understand why anyone would intentionally saddle themselves to Gilly – dresses and jewelry be damned).

One of the film’s biggest surprises is John Travolta as the town’s Marshal. Unlike traditional Westerns, this Marshal holds no grudges or criminal ambitions. Certainly he isn’t a kind man by any stretch, but his basic desire is simply to maintain (his version) of peace and order and, were it not for his moronic son, he would have been able to do so. Travolta plays the character with a combination of savvy showmanship and world-weariness – a man resigned to maintaining the status quo at all costs and exasperated with those who seek to disrupt his calm. It’s a solid role, albeit small – Travolta’s barely around until the violence erupts in the third act.

This leaves the two protagonists and here In a Valley of Violence comes up a tad short. As Paul, Hawke has a bit of a thankless role: he’s not flashy, nor is he particularly well suited for the life of a gunslinger. Paul is first and foremost a loner (outside of his relationship with his beloved – and charismatic – pooch Abbie) and even when he goes into revenge-mode, he remains mostly soft-spoken and matter of fact. He’s the straight man, which makes it harder to stand out when the villains are so much more engaging. Worst of all is Taissa Farmiga as Mary-Anne, Ellen’s sister and Paul’s far-too-young potential love interest. Farmiga makes the odd choice to have Mary-Anne deliver her dialogue in super-speedy Gilmore Girls fashion, which makes her seem like she’s acting in a completely different (far more comedic) film. And while the rationale for her interest in Paul is completely understandable, it is nonetheless difficult to shake off the icky vibe considering the substantial age gap.

The plot itself is fairly straightforward, which makes the just over 2 hour film feel longer than it actually is. There’s a fairly substantial set-up period as Paul enters Denton, upsets Gilly, meets Mary-Anne and is asked to leave town by the Marshal. By the time Gilly’s men attack Paul in the middle of the night and leave him for dead, it’s pretty clear where things are headed, but it still takes another twenty to thirty minutes to get our first taste of revenge. In this way West’s appreciation of glacial pacing remains intact, though none of the resulting violence carries the emotional toll or the sense of payoff of his other films. The narrative unfolds pretty much exactly as you expect, for better or for worse.

If you’re seeking a relatively traditional Western, you can do worse than In a Valley of Violence which has a solid cast, ok action and great aesthetics. If you’re attracted to the project because of Ti West’s previous work, however, be sure to set aside your expectations or you run the risk of being disappointed.

In a Valley of Violence screened at the Toronto After Dark Film Festival.