User Reviews

Blackthorn is directed by Mateo Gil and written by Miguel Barros. It stars Sam Shepard, Eduardo Noriega, Stephen Rea, Magaly Solier, Nikolaj Costsr-Waldau, Padraic Delaney and Dominique McElligott. Music is by Lucio Godoy and cinematography by Juan Ruiz Anchia.

It was believed that Butch Cassidy and The Sundance Kid both perished at the hands of the Bolivian army in 1908. Not so, for here is Butch Cassidy 20 years after the supposed event, alive and well and living in a secluded Bolivian village under the name James Blackthorn.

What a lovely idea, that of one of history's most famous outlaws actually living longer than history led us to believe. OK, it's a scratchy premise but it allows for a quite elegiac film as we follow an older and grizzled Cassidy on another adventure. That adventure sees him team up with mischievous Spaniard Eduardo Apodaca, the latter of which tries to rob Blackthorn/Cassidy and then offers to repay the old outlaw with the proceeds from some hidden loot stashed away from a robbery. They set off and sure enough there is a posse on their tail, meaning the pair have to stay one step ahead of their pursuers, something which puts the twinkle back in Cassidy's eyes. But not all is as it seems and with flash backs showing Butch and Sundance in their prime (Waldau as the young Cassidy is an inspired choice as per likeness to Shepard), aided by the feisty Etta Place, this is a fully rounded tale.

The film quite simply is unhurried and respectful to the art of story telling and is rich with a lead characterisation of considerable substance (Shepard is wonderful, really gets to the soul of the character). Oh it is punctured by the odd action scene, even some humour is in the mix, there's even time for machismo and romantic threads of worth, but this beats a melancholy heart and is All the better for it. It also happens to be one of the most gorgeously photographed Westerns of the modern era. Filmed primarily on location in Bolivia, the landscapes - be it the mountainous ranges or pin sharp salt flats - are sublime, God's wonderful Earth in all its glory expertly realised by Anchia, marking this out as an absolute Blu-ray essential for Western fans big into location photography. While Godoy's musical score is pitch perfect for the tonal flows in the narrative.

There's the odd cliché, Rea is a touch wasted and some may decry the simplicity of plot, but this is thoughtful and awash with the love of the Western genre. If only for Shepard and the photography then this is worth it for Western fans, as it is it also calls out to those who like some emotional reflection in their Oaters. 8/10

I grew up watching westerns, and Butch and Sundance must be up there with my favorite bank robbers. I still love a good western but Hollywood seems to be to busy with re-makes of all kinds, vampires that live in sun light type films, over done special effects galore films, and cheap ass horror film after cheap ass horror film. So I was happy to see this film coming out, good cast, great story, and fantastic scenery to boot! I am not to sure about the stories take on Butch, but besides that I really enjoyed it, the scenery was fantastically caught on film, the story moves at a nice pace, and at times really hit a nerve with me about life, friends that have come and gone, and growing old, and looking back at what we might have done different.

Anyway I enjoyed this film, not a Oscar winner, but well worth it, solid acting by all actors, I gave it a 7.5 out of 10

Great outdoor cinematography highlight this darn good Western. The story of an aging outlaw returning home is engaging and the morality tale is delivered decisively. It has a number of dramatic details that make it believable (taking a slice of meat off the dead horse and roasting it on the campfire).

In all the expanse of the Bolivian landscape the humanity and characterizations are not lost and we care about Butch Cassidy, his lady love, and even the ex-Pinkerton who discovers, then assists our anti-hero on his way to settle the score.

All the elements of classic Westerns are at work here and the pace is methodical and maintained for a rhythmic ride. The gun-play is realistic and never stylized and the result is a new Western with an old West feel.

If you're a guy and you haven't at some point had the dream of becoming an outlaw who takes down government banks and rolls with either a wicked car or a massive horse then...well...you're weird. Let's just be honest: being an outlaw is just super cool. Robbing from the rich and corrupt, taking out bad guys (even though you're kind of a bad guy yourself), and living outside of the law are all exciting ideas and make for even more exciting men (and women). We gravitate toward those characters in movies because they are always charismatic, fun, and give off an air of freedom despite (and perhaps because of) always being just one step ahead of certain death at the hands of stodgy law makers and guys who don't have the stones to be outlaws themselves (I'm talking to you, Pinkertons!). Butch Cassidy and the Sundance Kid is one of my very favorite films, the rare "classic" that plays just as well today as I imagine it did when it opened in 1969. The idea, then, of an alternative history in which Butch and Sundance escape the doom that awaited them at the end of that film (and in real life, I guess) is beyond interesting to me. I saw a blurb about Blackthorn a couple of months ago and immediately knew I would seek it out. I'm awfully glad I did.

20 years after the standoff in which he and the Sundance Kid supposedly died, an aging Butch Cassidy (Sam Shepard) still lives in Bolivia, laying low and breaking wild horses for wealthy riders. He has a good life but one that is a good deal quieter than he experienced in his outlaw days and that lack of action wears on him. So when he comes in contact with Eduardo Apodaca (Eduardo Noriega), a Spanish engineer with a plan to steal thousands from a mining company, he senses an opportunity not only to relive the glory days but to buy his way back home. The heist turns south, however, when it becomes clear that Noriega isn't who he says he is, forcing Cassidy into circumstances he may not be able to overcome.

Blackthorn (which is the name Cassidy goes by) is a slowburn that moves methodically through both the narrative and the Bolivian landscape, providing action in short, contained bursts rather than excessively throughout the run time. Part of the story is told in the form of flashbacks that fill in the blanks between BCSK and while these aren't the best parts of the film, they re-engage the audience with the Cassidy storyline and essentially create an immediate rooting interest in the character. This is a big part of what makes the film work. It progresses exactly the way a Western should when it concerns itself with an aging protagonist and that makes for a rich and intriguing narrative. (And by the way, can we please have more Westerns, Hollywood? They don't have to be big budget entries like Cowboys and Aliens, just simple little films like this and Meek's Cutoff. More of that please.) In addition, the behind-the-camera work on Blackthorn is excellent. The shot selection is simple yet purposeful and the settings are well-chosen. The cinematography is outstanding, highlighting the tremendous and beautiful geographical diversity of South America. The landscape is in many ways the premier supporting character.

But as you might expect, Blackthorn depends almost entirely on the performance of Shepard and the man delivers magnificently. Shepard is one of the greatest actors of his generation and yet he is often overlooked when that conversation comes up and I am one of the guilty who has too often neglected to mention his name. I can't think of a single actor who I would prefer to play the aging Cassidy and he completely lives up to that statement. I think it would have been very easy to play Cassidy as some sort of knock-off of Paul Newman's interpretation of the character. Instead, Shepard makes him wholly his own with just a hint of reminiscence for the iconic original. The years have taken their toll on Cassidy but Shepard never makes him come off as bitter or even overly tired so much as hardened and slightly more crotchety. Cassidy shows the physical rust that would accumulate during a 20 year hibernation but he displays the wits and reflexes that make men like himself so exciting. There are a few moments in which I found myself thinking, "The guy still has it!" the same way I would if I was watching an aging slugger take one monster swing that sends a ball 450 feet up into the stands. It's a powerful yet understated performance that has reminded me of Shepard's true greatness. I won't be forgetting his value again anytime soon and the same should be said for Blackthorn as a whole.

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Released in 2011, "Blackthorn" is the unofficial sequel to the 1969 Western hit "Butch Cassidy and the Sundance Kid." It took 42 years, but it was worth it.

THE PLOT: Almost 20 years after Butch Cassidy was supposedly shot-down in Bolivia he is shown alive and well, living in a ranch house in the mountains under the name James Blackthorn. He has a "nephew" (or, more likely, a son) in the USA and decides to take his stolen loot, retire there, and live happily ever after. Unfortunately for him, a young outlaw (Eduardo Noriega) puts the kibosh on his plans, but they eventually team-up, perhaps because the dude reminds him of his younger days or of his deceased best friend, the Sundance Kid.

Another reviewer pointed out that Butch Cassidy is essentially regarded as a real-life Western Robin Hood. Yes, he was an outlaw, but he stole from the rich (the banks, trains and such) and gave to… well, himself. Okay, so he wasn't exactly Robin Hood, but people give him a pass because he fought the system and won, at least until his reported death at the age of 42 in 1908. But there are theories and support for the idea that he didn't die and this movie explores this possibility.

The reason I bring up the whole Robin Hood ethic -- i.e. steal from the rich, etc. -- is that the movie illustrates that, outlaw though he may have been, even Butch Cassidy had an intrinsic moral code that he followed. Those who broke that code were not worthy of his time, respect or compassion. Period.

Another reviewer seemed to read too much into this element and interpreted the movie as a Socialist vehicle with didactic politics: The idea that being singularly rich is intrinsically evil and therefore those less fortunate are morally justified in demanding (i.e. stealing) their wealth. But I don't think the filmmakers necessarily support this view any more than the makers of the original movie did in 1969. It's basically just Butch's personal justification for his lifestyle. He's a thug who unsurprisingly made excuses for his foolish way of life and he keeps payin' the price: Everyone around him dies prematurely, he's left alone & weary, and his stolen loot seems to keep falling through his fingers, one way or another. Yeah, Karma's a real biyatch.

When my wife or I watch Westerns we always ask each other: "Was it as good as Dances With Wolves"? The inevitable answer is always, "No, but…" Of course, few Westerns are as good as "Dances With Wolves"; it's the "but" that will determine if the movie is worth seeing. In the case of "Blackthorn," this is definitely watchable for a number of reasons, including the intriguing ideas noted above. It's just a solid modern Western with many of the requisite staples that mark the genre, such as excellent landscape cinematography (in this case Bolivia, shot on location), a quality modern Western score, shoot-outs, brooding outlaws, saloons, booze, posses, mines, escapes, beautiful women, Pinkertons, Natives, cowboys, horses and locomotives. Speaking of posses, the posse-pursuit in this film is at least twice as long as the elongated posse sequence in the original movie, and probably longer.

"Blackthorn" borrows from Westerns like "Butch Cassidy and the Sundance Kid" (naturally), "The Shootist" (1976), "Unforgiven" (1992) and the more modern "Seraphim Falls" (2006). The association with the first film is obvious. It's reminiscent of "The Shootist" and "Unforgiven" in that the story involves an aged and meditative outlaw who doesn't have much further to go. It brings to mind "Seraphim Falls" (and Jack Nicholson's "The Shooting" from 1966) with its long, surreal chase scenes in the desert. The modern gloss also brings to mind "Seraphim." Lastly, the basic tone is akin to "The Long Riders" (1980). What makes "Blackthorn" unique is its setting in Bolivia; and, to a lesser degree, the time period, 1927.

FINAL SAY: I suppose you could say that this is a character study and Sam Shepherd is excellent as Butch Cassidy. Like "Unforgiven," it's a brooding, elegiac Western focusing on less-than-respectable characters with flashes of Western-styled violence. It also has something interesting to say, although it's nothing enlightening or deep.

The film runs 98 minutes.

GRADE: B+

Blackthorn is an estimable contribution to Western movies. Contrary to the American style, here the epic it's illustrated in a less gimmicky way. There's not apotheosis at the endings of the sequences with a high emotional music theme. Poetry it's in the words, the silences, the landscapes and the development of the characters. Apparently it's a traditional story about compensation with the past, but there's much more. An a-la-Hawks representation of male friendship, a social message, a nostalgic review of classic Western and two little twists in the story that avoid a possible predictable ending. Very interesting it's the Mateo Gil's choice, in opposition to the Roy Hill movie, to show Bolivia as a wide open country. While Roy Hill, in the 1969 movie, shoot the South American scenes in a cloistered vision -to give them a claustrophobic value that works as allegory of the characters mood- in contrast with the North American scenes, Gil hasn't renegade to shoot the desert, the wide plains and even the canyons from Bolivia brought out by the brilliant cinematography of Ruíz Anchía. Perhaps there're a couple of moments that the narrative pace goes down in contemplative scenes, but overall the rhythm and the story will keep your attention. Great works of Sam Shephard, Eduardo Noriega, Stephen Rea and Nikolaj Coaster-Waldau. You would like Blackthorn if you like Unforgiven, Appaloosa, Open Range or, of course, Butch Cassidy and the Sundance Kid but not if your taste it's nearest to The Quick and the Dead, Young Guns I or II, or Cowboys & Aliens.

Blackthorn is one of those films. The kind that you discover and fall in love with. It exists and this is already a miracle.

Between The Good, The Bad, The Weird and Walter Salles is Blackthorn. The meditative beauty, poetic narration and sublime photography of Salles and something of the supercool bravura of Kim Jee Woon's masterpiece.

Everything pays off here: the unexpected flashbacks which actually work dramatically and interact with the central story, the performance of Shephard which is Oscar worthy - this sounds like a cliché but he is really wonderful in this film and deserves recognition for his brilliant work - Eduardo Noriega is also back to being the resolutely appealing actor able to make you feel for him even when his character is unsympathetic, which he proved in the classic Abre Los Ojos.

Blackthorn is a sad film which tells the story of an aging outlaw's attempt to make up for the things he regrets as he's nears the end of his life. It is exciting, beautiful, sensitive and true. See it if you can and be glad you did.

This resurrection of Butch Cassidy and Sundance sputters along like an old jalopy running on only a few cylinders. The action is sporadic with a feeling of inevitability that lacks dramatic tension. The flashbacks were comically inept and served to bring the narrative to a halt time after time as they add almost nothing to the story. Still, Sam Shepherd gives the movie what little gravitas there is to this meandering tale.

Westerns are all about cinematography, and Blackthorn is no exception.

Wide, sweeping vistas are the order of the day -- but this time, they're something new: South America, and in particular, Bolivia. This tale of an aging-exiled American outlaw and his attempts to return home may seem a bit straightforward and tame, but in the end it's not and you'll be glad to have spend the hour and forty-five minutes partaking in this latest great example of the genre.

The directing isn't too bad either and the actors generally deliver their lines well, although a few are a bit over-read.

For a modern western that's not an adolescent fantasy and has a great deal of heart, it gets 9/10.

Awesome lead performance, but we wouldn't suspect or expect anything else. But we also get one of the better known Spanish actors of the past 10 years in (if I'm not mistaken) his first English speaking role. He does a great job and can also be seen in one of the shorts that is on the DVD, also directed by the man responsible for this movie. The story is more than convincing too.

One of the things that might not be your thing, is the morality tale in this. Apart from some minor story issues (Stephen Reas character for example, although he has the gravitas to pull it off), this is another showcase of why Western movies are entertaining to watch. There are a few factors playing into that of course and the "Genre" has changed a lot over the years. But like a good cowboy, it won't stay down

I like westerns, I liked "Butch Cassidy and the Sundance Kid", so I was intrigued by this movie. What a disappointment! The link to the original serves no artistic purpose, but rather an economic one - i.e. to get suckers like me to watch it. In a tip of the hat to the original classic, a few completely random "flashback" scenes are peppered without logic throughout the movie, but that's about it.

The movie is decently played and shot, but the story is weak, contrived and frankly unconvincing. The movie's weird and preachy ending (and I do consider myself a liberal!) and the fake and self-serving link to a great classic western are a complete turnoff.

An aging Butch Cassidy (Sam Shepard), now calling himself Blackthorn and living a quiet life in 1920s Bolivia, learns that Etta Place has died in San Francisco, living her young son behind, to whom Butch has long been writing in the guise of "Uncle Butch." He decides to travel back to the States to see his "nephew," and sets off with the blessings of his indigenous girlfriend Yana (Magaly Solier). Early on, however, he comes across Eduardo (Eduardo Noriega), a young Spanish man on the run from a posse after he stole a lot of money from an evil mine-owner. Eduardo's horse is dead and he is lost, and he begs Blackthorn to help him; somewhat against his will, Blackthorn does so, and they set off on a last grand adventure, together. But Eduardo isn't all that he seems, and in addition to the posse, an old broken-down Pinkerton man, Mackinley (Stephen Rea), is also aware that Butch Cassidy didn't die all those years ago....

I'm not big on Westerns usually, but this is an exception. Beautifully filmed on location in Bolivia, and employing numerous indigenous actors, we are also treated to flashback scenes of a younger Butch (played as a young man by Nikolaj Coaster-Waldau, who looks very much like a younger Sam Shepard), his friend the Sundance Kid (Padraic Delaney) and their mutual love Etta Place (Dominique McElligot), which deepen and enrich the larger story. I'm not sure why this screened at FantAsia, as it's not really genre, but perhaps it's because the director, Mateo Gil (making his English-language debut here), is known for earlier Spanish thrillers that were screened in earlier years. In any event, I'm very glad that I saw this unusual Western, which I believe will get a regular release later this year.

This Spanish/South American western is not only one of the most underrated films in the genre, but one of the most overlooked films of the last several years. It boasts a compelling story, a fine script, an excellent cast, stunning photography of some magnificent Bolivian locations and a terrific performance from Sam Shepard as Butch Cassidy (alias James Blackthorn). This may well be Shepard's finest screen work in a stellar career. Stephen Rea as Blackthorn's (Shepard's) ancient nemesis and pursuer (their relationship recalls Victor Hugo's Jean Valjean and Inspector Javert) and Eduardo Noriega as the devilishly charming Spanish thief provide wonderful support. The action is well-handled and the flashback scenes of a young Butch, Sundance and Etta Place perfectly underscore the story rather than sidetrack it as flashback sequences so often do. The picture is different in tone - more serious and downbeat - than the classic "Butch Cassidy and the Sundance Kid" (1969), but it is still a worthy companion piece to that film - largely due to Shepard's expert characterization and Mateo Gil's sure-handed direction. In a genre that has often been depicted as all but dead (but still lives on splendidly thank you), this is a more than worthy entry.

I had heard about this film some time ago & the storyline for me was a little nebulous.

Why name a film after an alias? Butch Cassidy is probably the most recognizable name in Western film history that by obfuscating the hero's identity & rewriting cinema history only contorts what the film's story should be.

I think this is probably one of the finest westerns to be made in some time along w/Ed Harris' Appaloosa which treat the Western as is should be; a true American art form.

What holds my praise back a bit are the various flashbacks which kinda rewrite what we know of Butch's adventures only to justify character shadings which if dropped would've still have been appreciated via Sam Shepherd's great performance.

Not a total miss & definitely worth a view.

Blackthorn is a slow burn elegiac western with a fine performance from Sam Shepard. The actor and playwright who passed away in 2017 shows here what an excellent actor he could be when given the right role.

Shepard plays the ageing Butch Cassidy who did not die in a shootout in Bolivia but laid low living a modest life with his housekeeper Yana and longing to go home which he tries to do when his old flame dies back in the USA.

On his way back to America Butch comes across a Spanish mining engineer named Eduardo Apodaca (Eduardo Noriega) who has stolen from a mining company and is now in pursuit. He has also scared off Butch's horse and saddlebag carrying his money. Butch decides to team up with this young upstart who does not realise that legendary outlaw he is riding with.

However pretty soon McKinley (Stephen Rea) an old alcoholic agent from the Pinkerton Gang senses Butch's scent as he never believed that Butch died all those years ago.

This is a contemplative film, with maybe a too simple story. McKinley indicates to Butch at one point that he has become too trusting in his old age. There are some flashbacks to Butch and Sundance's younger days. The film has wonderful photography and stands testament to Shepard's vast talents.

In 1908 Bolivia, Butch Cassidy and the Sundance Kid were supposedly killed in a final gunfight. In 1927 Bolivia, Butch is living under the assumed name James Blackthorn (Sam Shepard). He decides to return to America after the death of old mate Etta Place. He withdraws all of his money. He gets into a gunfight with Eduardo Apodaca (Eduardo Noriega) who claims to be escaping from a powerful mine owner after stealing his money. Their horses run off. Eduardo had mistaken Blackthorn for one of his pursuer and offers a share of the loot for his help. There are flashbacks of Butch and Sundance with Etta as they are pursued by Pinkerton Detective Mackinley and the Bolivian Army.

Spanish director Mateo Gil takes on the modern western. It is beautifully shot and it's got Sam Shepard. He's got the charisma and big screen presence for such an iconic character. The story does meander around and it's the most thrilling plot. The flashbacks disrupt the flow and could be left out. This is more compelling as a movie spotlighting Sam Shepard and make him the man with a fake name.

This Spanish picture is an enjoyable drama Western with an interesting characterizing about the celebrated leader of the ¨Wild Bunch gang¨ of train robbers , Butch Cassidy who along with Sundance Kid were one of the last old-style bandits of the West and they had the quick wit and strength of character to dominate more desperate men . In Bolivia, Butch Cassidy who left long time ago his criminal activity and now calling himself James Blackthorne (Sam Shepard) , pines for one last sight of home , an adventure that aligns him with a young robber (Eduardo Noriega) and makes the duo a target for gangs and lawmen alike . It's narrated by means of a relentless pursuit by a posse which leads to the two protagonists through wonderful Bolivian landscapes . Furthermore , it deals with young Butch Cassidy (Nikolaj Coaster-Waldau as James joven) , Sundance Kid (Padraic Delaney) and Etta Place (Dominique McElligott) , whose scenes are developed in flashbacks , both of them when the Pinkerton and railroad agents (Stephen Rea) hot on their trail , the Wild Bunch broke up and both sailed to South America after the turn of century and disappeared there , possibly dying in a shoot-out in 1909 near La Paz , though the story here narrated is quite different .

The film contains human drama , thrills , violence , riding pursuits and action Western complemented with moving tension and intrigue , including some twists and turns . These elements provide the setting for this piece of dramatic Western , giving it its own special quality and ambient . Butch is described as a tired veteran though a crack shot, he never murdered anybody and disliked gratuitous violence , he only wishes returning to US and know his son . Top-notch acting by Sam Shepard as the old bandit who becomes drawn into a spiraling tangle of danger , deceit and confusion . Acceptable interpretation by Eduardo Noriega as a young mine engineer who holds a dark secret . Colorful and evocative cinematography by Juan Ruiz Anchia who has been making a prestigious career in Hollywood , such as Close range , House of game and River runs black , here he shows splendidly the wonderful outdoors filmed on location in La Paz , Potosí , Uyuni, Bolivia . Sensitive as well as thrilling musical score by Lucio Godoy .

This exciting motion picture was well directed by Mateo Gil . Mateo is a notorious screenwriter , he wrote various films for Amenabar as ¨Agora¨ , ¨Mar Adentro¨ , ¨Abre Los Ojos¨ and ¨Tesis¨ . He only has directed ¨Nobody knows anybody¨ or ¨Nadie Conoce Nadie¨ and recently this Western titled ¨Blackthorn¨ . Rating : Above average movie for its intrigue , memorable performance , plot twits , atmospheric mood piece and impressive photography . Well worth watching .

A compelling premise gets a bit lost in the exposition. Sam Shepard is compelling as ever and this film is beautifully shot - top notch cinematography, for sure.

But, about 2/3 of the way through the plot loses momentum and I was left wanting more...and the plot resolution is neither transparent nor compelling...a disappointing "final reel" to a previously well woven tale.

Seems as though an opportunity was missed here although it is compelling and watchable to the last, I was unsatisfied by the denouement.

Butch Cassidy didn't die! Both he and the Sundance Kid somehow made it out alive at the end of Butch Cassidy and the Sundance Kid and escaped certain death at the hands of the Bolivian Army. Flash forward 20 years and Butch, now known as James Blackthorn (Sam Shepard), is still in Bolivia and living a quiet life breeding horses and enjoying the scenery. However, James knows it's time to sell what he has and return home to the U.S. He is not young anymore, heck; he is not even middle aged anymore. There are some people he wants to see back in America but wouldn't you just know it, now that James is trying to leave, local events unexpectedly descend right on his head and he gets mired in a side quest of money and revenge before he can finally go home.

His sidekick this time is Eduardo Apodaca (Eduardo Noriega), a Spanish engineer who just stole a huge sum of money from the regional mining magnate and has not only a large bounty on his head, but a posse of extremely irritated tough guys on his tail. James and Eduardo get tangled up together as only two people can in the middle of nowhere Bolivia and they start working together to get the money and stay alive.

But what happened in the 20 years from when we last left Butch Cassidy and what happened to the Sundance Kid? These events are slowly uncovered through flashbacks where young Butch (Nikolaj Coaster-Waldau) and Sundance (Padraic Delaney) are first back in the U.S., make their way to Argentina, and finally Bolivia where it somewhat tells how they got out of that tricky business. Also in the flashbacks is a Pinkerton agent, McKinley (Stephen Rea), who chased the two bandits from the U.S. to South America.

The Blackthorn screenplay was written by Miguel Barros, his first fiction credit, but could have been written by the Bolivian Tourism Office. Shot in Bolivia, the scenery should garner its own supporting actor credit. The camera lingers of high mountains, lush plains and valleys, winding rivers, and even barren salt flats. Frequently, James will sit down, stare at his surroundings, and mention to whomever he is with at the time just how gorgeous Bolivia is. Directed by Mateo Gil, known more for his writing (The Sea Inside, Open Your Eyes, Vanilla Sky), Blackthorn brought Butch Cassidy back to life, but did it really need to? According to this script, there was no need for a Butch Cassidy sequel right after the 1908 events with the Bolivian Army because Butch didn't do anything except disappear into the countryside and settle down. Now the camera is back on him because of this Eduardo business. However, the whole mess is so blatantly contrived and small minded that the plot is just an excuse to bring back a very famous character.

Also, it has briefly revived the moribund careers of Sam Shepard and Stephen Rea, two talented actors who do not receive very many scripts anymore. Shepard has popped up in very small roles recently in Fair Game and Brothers while Rea was more or less last seen in V for Vendetta and a 2009 episode of Law and Order: Special Victims Unit. It is a shame that not only does the Blackthorn script severely let down its predecessor, but when two aging actors finally get the chance to show they still have what it takes to carry a film, they are saddled with this one.