During Grant's presidency, Jonah Hex is a remorseless bounty hunter. In the Civil War, he was a rebel whose honor put him afoul of a Confederate general, Quentin Turnbull, who murdered Jonah's family while Jonah watched. As a result of the ordeal, Jonah's face is disfigured and he can talk with the dead. After staging his own death, Turnbull, with a group of rebel stalwarts, hatches a plan to bring the Union to its knees. Grant wants Hex to stop it. While the nation readies to celebrate Independence Day, Hex and an unlikely ally have little time to stop Turnbull and his weapon of mass destruction. Written by
After Jonah uses the guns mounted on his saddle they suddenly have the blankets wrapped around them again. See more »
War and me took to each other real well. It felt like it had meaning. The feeling of doing what you thought was right. But it wasn't. Folks can believe what they like, but eventually a man's gotta decide if he's gonna do what's right. That choice cost me more than I bargained for.
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Starts off as an excercise in mediocrity and cliché but manages to sink even lower as the film's (thankfully short) running time comes to a close.
What a shame. The original Neveldine and Taylor script (which I only read half of because I didn't want to spoil myself silly) was actually quite good. Episodic in the way that Hex gets himself into bizarre jams (much like the original 70's comic) on the road to the film's Macguffin.
One such jam being he runs into a town where the occupants have all been lobotomized.
Unfortunately, none of that makes it to the final film and although a lot of the film was cut down I don't believe they filmed even 90% of what was in that script.
What remains of the N & T script is the Gatling gun sequence (albeit without the gore) and the arena sequence (heavily reworked and, ultimately, uninteresting).
There are one or two shots where Hex is riding through the countryside at night. I'd like to know if any other IMDBers were having trouble making out what was going on in those shots. Poorly lit.
Have cinematographers forgotten to lens a night scene in westerns? All "day for night" jokes aside, this is terrible. I never thought I would see such an eye strainingly dim scene in a big budgeted Hollywood picture.
As for the charisma vacuum that is Megan Fox, she's surprisingly substantial in her introductory scene but falls into familiar territory, for her (empty expression/lifeless), shortly after.
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