By S. T. Karnick

The general rule for mixed-genre fictions is not that you can expect to interest fans of both genres, but instead that you end up only with those who like both genres. That, I suspect, is a central reason why so few are attempted and even fewer are successful with audiences or critics.

That seems to be what’s happening with Cowboys & Aliens, which opened to less-than-enthusiastic reviews and lower-than-expected first-weekend ticket sales even though it finished first at the U.S. box office. That would explain the unexpectedly weak performance during the film’s first weekend. What’s likely to suppress its box office appeal in the coming weeks, however, is the film’s lack of a strong story line and dearth of appealing characters.

Directed by Jon Favreau (the Iron Man films, Elf, Zathura) from a script by multiple hands, Cowboys & Aliens has plenty of energy and action and is basically enjoyable, but it suffers from a curious lack of interesting plot twists and a rather glaring casting mistake. Most classic Westerns, contrary to contemporary beliefs, were given excellent, complex plots with strong character motivations. Unfortunately, plot is the great weakness of Cowboys & Aliens.

We know from the film’s title and trailers that aliens are going to attack in the Old West, and it’s axiomatic that once that happens, the earthlings will fight back. So, no surprises there. Once the Western-standard mysterious stranger Jake Lonergan (Daniel Craig) arrives in town, we know the aliens won’t be far behind. And once he poses a challenge to the rule of the Western-standard arrogant ranch king Col. Woodrow Dolarhyde (Harrison Ford), we know that the two will reconcile at some point in order to fight the aliens together.

The same is true of the choices made by Dolarhyde’s arrogant idiot son, Percy, and Indian guide Nat Colorado (Adam Beach) and the tribe of Apache Indians who capture the small band of people fighting the aliens. Colorado is a likeable character, thanks to Beach’s understated performance and his character’s interesting and laudable longing to be a valued member of the society and in particular of Dolarhyde’s ranch team, but he’s not seen all that much.

The Apaches inject some energy and an amusing element of political incorrectness in their savage, unruly celebration after capturing a group of white settlers. But none of them are given complex or particularly unusual characters. And Walt Goggins is amusing as Hunt, one of the villains, but he doesn’t get nearly enough screen time to make a real impact on the film.

There’s one interesting plot twist involving mysterious lady Ella Swenson (Olivia Wilde, Tron Legacy, Year One, House), but even that is obvious fairly early on, given her rather strange attitudes.

Exacerbating these problems is the decision to cast two extremely stolid, unemotional actors to play the stoic and fairly uninteresting main characters, Lonergan and Dolarhyde. Although they’ve both been successful as action heroes, neither Craig nor Ford conveys much personality these days, and as a result they leave a rather big, boring hole in the center of the film. Just imagine, say, Robert Downey Jr. or Bruce Willis as Lonergan and Daniel Day-Lewis or Liam Neeson as Dolarhyde. That would result in much more chemistry than Craig and Ford manage to generate.

When one considers the great Western actors of the past, what stands out is the personal touch each one brought to the genre—John Wayne’s humor, Jimmy Stewart’s emotional vulnerability, Randolph Scott’s grit and determination. (Clint Eastwood set the pattern for today’s taciturn, joyless Western hero/antihero.)

Likewise, the great villains of the past, such as Barton MacLane, Jack Palance, Walter Brennan (also one of the world’s greatest sidekicks), Eli Wallach, and Lee Marvin, brought a delightfully perverse joy to their villainy—it’s interesting to note how many of their memorable scenes show these characters smiling or even grinning as they do their evil deeds. The contemporary cliche is that nobody in the Wild West ever smiled. It’s silly, false, and dramatically limiting, and it’s a shame that Cowboys & Aliens falls into that same trap.

On the plus side of the ledger, the film includes a good deal of Christian imagery, some of it blindingly obvious (beginning with the town’s name, Absolution) but nice nonetheless, and the Christian theme of personal redemption is evident throughout the film. The latter is not a necessary choice of theme for a film about alien attacks, and hence it is to the filmmaker’s credit for including it.

A further and perhaps even more effective Christian element is the presence of a fascinating and complex character: the local parson, Meacham. Superbly played by Clancy Brown, Parson Meacham is a clearly sincere and knowledgeable Christian, and he’s no sissy. He can handle a gun quite well, and he teaches one of the characters how to shoot. He even gets the drop on Lonergan when the latter first arrives in town. Meacham is a truly unusual character, and I would be happy to see an entire movie with him as the central character or the protagonist’s best friend. Unfortunately, for reasons I won’t reveal so as not to spoil the story for those who haven’t seen the film, Meacham, too, is not in many scenes and is given suitable prominence in even fewer.

That’s the frustrating thing about Cowboys & Aliens: the most interesting characters—Meacham, Hunt, and Colorado—aren’t given much attention, while the less interesting ones dominate. That lays too much pressure on the action scenes to rescue the movie, and while they’re good and enjoyable, I would have gladly given up much of that screen time to see much more from these smartly drawn and well-acted characters.

Don’t get me wrong: Cowboys & Aliens is enjoyable and diverting. It’s also rather boldly Christian and politically incorrect at times, which I appreciate. It could have been much more interesting and insightful into the human condition, but these saving graces make it a worthwhile summer popcorn film. Just don’t expect too much of it.