What’s it about?

Chile, 1973. Two CIA hitmen take a break from destabilising the democratically elected government for a holiday on Easter Island.

What’d we think?

If you’re at all familiar with Martin McDonagh’s body of work (namely In Bruges, and The Banshees of Inisherin), then you’ll know what to expect from Wild Horse Nine. It’s two hours of sharp dialogue between two blokes in the midst of beautiful scenery, and it’s an absolutely cracking film. I was worried that having such similar ingredients to his previous work might make it feel a bit samey, but Wild Horse Nine is just as enjoyable and darkly comic as his earlier movies.

Sam Rockwell is as dependable as ever as Lee, the straight man of our duo, knowing exactly how long to hold his face to squeeze the maximum chuckle out of a beat. But it’s John Malkovich who steals the show as the dry yet completely loopy Chris, delivering some of the best work of his career and putting himself into consideration for some statues when awards season rolls around. The two convincingly bicker and banter like old friends, but with their exchanges having layers of depth that are gradually peeled away as the movie progresses. To say too much more about the plot isn’t necessary, but it taps into the American mythology surrounding the CIA in this time period, examining morality and mortality, and some genuinely heartwarming notes about male friendship.

McDonagh is at his best here, pulling off the incredible feat of explaining clearly how he’s going to perform the magic trick, and yet it’s still an absolute treat when he pulls the rabbit out of the hat. Wild Horse Nine is a must-see for anyone who likes their comedy black and their trousers flared.