"Rust" is known to be a movie with a horrifying live tragedy. In the scene shooting at Bonanza Creek Ranch in Santa Fe, New Mexico, he is the film’s star Alec Baldwin and one of its producers, unleashing a gun used as a prop and somehow included a live show. (After all the condemnation and prosecutions and lawyers and trials and global media reviews, it was never far from the way these rounds found their way into the scene or into the gun room.) The weapon went out, killing the film's photographer Halyna Hutchins, and killing director Joel Souza.

Now that "Rust" has been completed and finally released (May 2, both in theaters and streaming), this horrible event is regrettable, but inevitably putting "Rust" on that small but clumsy roster of movies that are known for being violently killed during the production process. The film itself ultimately strives to justify its existence, is it part of the karma contaminated in this category? Vic Morrow was beheaded by a helicopter blade during the filming of the John Landis series The Movie: The Movie (1983), and this episode is easily the worst of the movie. Brendan Lee was shot and killed in the film The Crow (1994), and since his character was a murdered and resurrected rock music, hosting the film like a ghost, the slovenliness of "The Crow" only seems to enhance the meaninglessness of Lee's death.

"Rust" is a better movie than any of them. It is a handsome and observable independent art West founded in 1882, which turned into a sentimental multinational companion film. But I can't say that the movie ends up being particularly good. It has a naked plot, its tendency is greater than the tendency of wings, and there is no good reason to be two hours and 19 minutes.

Baldwin plays a grizzly crime gunman who is also a caring grandpa who tries his best to draw on the charm of the movie stars for the film. But, although I was a fan of Baldwin as an actor, he did not adapt smoothly to the circumstances of this period. Despite his repeated use of "no", he is an outdated man - a contemporary middle-class actor who seems too light and high-sounding (I never thought about him before), pretending to be the kind of silence that Kevin Costner could play in his sleep.

Baldwin over-cultivated badass sharpshooter, his thick gray beard, white stetson and saddle bag eyes were named Rust -Harland Rust. He showed up to rescue his grandson, Lucas Hollister (Patrick Scott McDermott), 13, who lives on a Wyoming farm with his younger brother Jacob (Easton Malcolm) in the first part of the film. Their parents were both dead and they tried to do it, feeding chickens and pigs, and defending against the ominous wolf. But the hostile encounter at the town’s grocery store shows that Lucas is a child who will lash out when challenged. He broke the arm of another child, and when the child's father showed up and asked Lucas to pay off his debts by working for him, Lucas took the matter into his own hands. He killed his father and died. He was soon arrested and sentenced to hang (even in days in the wild west, which seemed to be an extreme punishment for people of his age). It seemed to be his fate until his mother's father Rust entered the photo.

Patrick Scott McDermott, who plays Lucas, is a brilliant young actor with a stoic rock star. There are moments where you look at him and think he might be the Chalamet in the production. But Lucas' role is underwritten. The film simply accepts that this child can be violent in time outside of his years without coloring in any disturbing emotional undercurrent. In fact, the entire movie is underwritten. This is the problem. (That's why you feel the runtime.)

Rust defeats Lucas and the two escape on horseback. They are now fugitives, and their every move is being followed. Put Posse together to seek a $1,000 reward, with several wild lawyers in colorful roles starting with their leader, a Wyoming Marshal Wood Helm, played by Josh Hopkins, who plays a disastrous abe lincoln. (He was an early expert in forensics.) Australian actor Travis Fimmel has the role of Tom Hardy - a bounty hunter named Fenton "Preacher" lang, a biblical Christian and fascinating sociologist, not necessarily.

The trouble with "rust" is that once Rust and Lucas go south, head to Mexican territory, and Posse behind them heads to Mexican territory, the whole thing becomes a slow chase movie without too many twists or ways of revelation, or you know (sorry to use this outdated phrase), character development. Rust's life story is outlined. He was originally from Chicago because he was not entirely responsible and became a bank robber after the Civil War, and it turns out he was a ruthless cry filled with gold. Although we should be moved by the developmental bond between him and Lucas, it was rote for me, not “real courage.”

Dusk and sun photography by Halyna Hutchins, taught by Bianca Cline’s work, is probably the best thing about “rust”. This movie has a moody sexiness. But, as Josh Souza wrote and directed, the story told in this film boils down to rust, where Lucas stops in one place and then stops in another, never long enough to make a lot of sense in these places. POSSE will then appear under the same settings. "Rust" is more dynamic than Costner's "Horizon" movies in Picaresque, but it has a drought-like mass, enhanced by modern music scores by Lilie Bytheway-Hoy and James Jackson. The film finds a symbolic place for local characters, but it never summons the spirit you see in the "Gravestone" and this film shows the unpleasant retro west that might be serious. Will the tragedy on the screen now defining "Rust" make the audience curiously see or turn people off? Either way, those looking for it will find the movie “passed” without becoming an adventure to remember.