Reviewing Rust is tough when all you want to do is write a eulogy for Halyna Hutchins, the cinematographer who was killed on set by a functioning gun serving as a prop. While that approach to writing about Rust may sound cliché, it’s also the only way to acknowledge the sensational camerawork in Joel Souza’s western (which Hutchins shares with their replacement cinematographer Bianca Cline [Marcel the Shell with Shoes On]). As silhouettes drape across the dusty, barren landscape, the viewer can sense an undeniable connection between the camera and the scenery in Rust. The visuals help issue a rough ‘n rugged personality to this otherwise fairly standard western that doesn’t earn its 140 minute runtime.

After some shakedowns and breakouts, writer/director Souza chronicles a slow-burning, high stakes chase tracking down infamous thug Harland Rust (Alec Baldwin) and a captive orphaned boy, Lucas, sentenced to death (Patrick Scott McDermott). The boy’s best interest motivates Harland, as they travel to find safety and solitude in Mexico.

Westerns are far and few between and, lately, these films have either been just good enough (The Kid) or downright terrible (Place of Bones). While Rust feels as though it belongs in the former category rather than the latter, it rates a little bit higher. Not only because of the cinematography, but also because of how strong and entertaining the primary dynamic is between Baldwin and McDermott. Baldwin, doing his best to be unrecognizable, has fun with his character’s enigmatic qualities while newcomer McDermott shows unwavering confidence when acting alongside a well-seasoned actor.

A troubled and knotty production may hamper Rust but, nevertheless, there are some very good pieces within this finished film worth honouring.

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Addison Wylie: @AddisonWylie