The most interesting part of Desperate Cowboys is Kevin Hartzman's performance as a remorseless killer who chastises his victims' failure to realize actions have consequences, yet fails to recognize that his own actions must also have consequences. The character has no character arc and no history. He's a shallow caricature of a typical Hollywood hitman elevated from Heavy #3 status to a starring role. But his character seems more developed than the others.
Keyna Reynolds is horribly miscast as the object of two characters' obsessive love. Keyna is what might be considered a chick-flick heroine. She isn't unattractive, but isn't so attractive as to be considered a threat by female viewers. One could imagine her in a role where somebody is intrigued and impressed by what she does and gradually develops an affection. Beauty is in the eye of the beholder; however, she doesn't seem the type that becomes the center of attention as soon as she enters a room. Unfortunately, the character is given little background or development. What little she says or does seems deceitful, duplicitous, shrewish and self-centered. She covers more of her body in her bedroom scene than many girls cover when going out in public. The audience needs a strong reason to believe these two men are willing to overlook her negative characteristics. The character should have been cast with a Sofía Vergara, or a young Shu Qi or Jane March - somebody so uniquely beautiful and/or sensual that one can understand an obsessive fixation that is blind to all faults.
The script is very weak. A successful lawyer who drives an $80,000 Lincoln can't raise $150,000. The bad guys have information they have no way of obtaining. An assassin leaves his prints at the scene of his crimes. The plot is ludicrous and built on coincidences and deus ex machina interventions.
Production values are Cormanesque. Performances are generally unimpressive, but obviously limited by both the script and budget. Between the hackneyed dialogue, unimpressive performances and modest production values, one never gets lost in the illusion.
Keyna Reynolds is horribly miscast as the object of two characters' obsessive love. Keyna is what might be considered a chick-flick heroine. She isn't unattractive, but isn't so attractive as to be considered a threat by female viewers. One could imagine her in a role where somebody is intrigued and impressed by what she does and gradually develops an affection. Beauty is in the eye of the beholder; however, she doesn't seem the type that becomes the center of attention as soon as she enters a room. Unfortunately, the character is given little background or development. What little she says or does seems deceitful, duplicitous, shrewish and self-centered. She covers more of her body in her bedroom scene than many girls cover when going out in public. The audience needs a strong reason to believe these two men are willing to overlook her negative characteristics. The character should have been cast with a Sofía Vergara, or a young Shu Qi or Jane March - somebody so uniquely beautiful and/or sensual that one can understand an obsessive fixation that is blind to all faults.
The script is very weak. A successful lawyer who drives an $80,000 Lincoln can't raise $150,000. The bad guys have information they have no way of obtaining. An assassin leaves his prints at the scene of his crimes. The plot is ludicrous and built on coincidences and deus ex machina interventions.
Production values are Cormanesque. Performances are generally unimpressive, but obviously limited by both the script and budget. Between the hackneyed dialogue, unimpressive performances and modest production values, one never gets lost in the illusion.
