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1875. New Mexico Territory. A stranger (Daniel Craig) with no memory of his past stumbles into the hard desert town of Absolution. The only hint to his history is a mysterious shackle that encircles one wrist. What he discovers is that the people of Absolution don't welcome strangers, and nobody makes a move on its streets unless ordered to do so by the iron-fisted Colonel Dolarhyde (Harrison Ford). It's a town that lives in fear. But Absolution is about to experience fear it can scarcely comprehend as the desolate city is attacked by marauders from the sky. Screaming down with breathtaking velocity and blinding lights to abduct the helpless one by one, these monsters challenge everything the residents have ever known. Now, the stranger they rejected is their only hope for salvation. As this gunslinger slowly starts to remember who he is and where he's been, he realizes he holds a secret that could give the town a fighting chance against the alien force. With the help of the elusive traveler Ella (Olivia Wilde), he pulls together a posse comprised of former opponents-townsfolk, Dolarhyde and his boys, outlaws and Apache warriors-all in danger of annihilation. United against a common enemy, they will prepare for an epic showdown for survival. (Universal Pictures US)

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D.Moore 

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English Anyone want a screenwriter? Because Hollywood seems to have a surplus of them. Otherwise, I can't explain why Cowboys & Aliens was written by five people. And why their typewriters produced such a simple result. Nevermind. As you might have guessed, the story is the biggest (and actually the only) weakness of this film. I didn't mind that a bunch of cowboys went on the trail of a UFO just out of the blue, all convinced that "it was going where the machines went". It sounds naive, but that's just how every other thing was handled in the Wild West: Find a clue and follow it. I was more sorry about how the screenwriters botched the dialogue. They did give the tough Craig and the likeable grumpy Ford a few lines, but otherwise most of the dialogue felt heavily used. What I liked, on the other hand, was the effort not to make Cowboys & Aliens into a comedy or even a parody (I guess not enough time has passed since Wild Wild West and the filmmakers are still scared), but a full-fledged sci-fi movie. In this, I think, they succeeded, because the result is more reminiscent of The Valley of Gwangi than the aforementioned Wild Wild West. The dinosaurs may have been replaced by aliens, but no matter what situations the characters get into, you still get the feeling that you're watching a (slightly different) western that is sympathetically lightened by humor here and there and where the action is just right. The special effects are an entirely separate chapter. ILM is simply ILM, and so the alien craft look absolutely superb and irresistibly mechanical, behaving realistically like jet fighters of today, leaving a smoke trail behind them and their engine making a sensational "insect" sound. I was also pleased with the "fish-turtle" look of the aliens and the beautiful (really beautiful, I haven't seen one of those in a long time) final explosion. I also give points to Harry Gregson-Williams, who found a nice listenable compromise between western and sci-fi music, and of course to the director, without whose sense of action (the night raid on the city, the air attack in the desert, the ending) and other (the overnight stay in the boat, the meeting with Jake's gang) scenes it wouldn't have been the same. Four pure stars. ()

DaViD´82 

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English The problem lies not in the fact that the whole screenplay consists only of the three words in the title, nor in the unjustifiably overdone footage (which can be said at least for the fifteen minute extended version), but in Favreau himself. He lacks a sense of atmosphere and action, and the ability to create them. Which, in a film where there is nothing but atmosphere and action, is a bit of a nuisance. It's also a shame that the movie takes itself so deadly seriously, and that this pose only fits during the stylish introduction. ()

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Marigold 

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English I don't quite know if there's a more tragic screenplay that sometimes becomes unnecessarily entangled in its simple stupidity, or (again) a desperately flimsy Jon Favreau, who created something resembling a television production without a single ballbusting scene, in which several megastars have accidentally become involved. Although the introduction looks quite hopeful, the rest of the film is full of endless desperate awkwardness, which is ridiculous but in no way entertaining. I wonder what the crew spent the $160 million on. Probably fiery water and windy women. You can see it in Cowboys and Aliens - and this could and should have been really good. But the film would have had to be made by someone who at least has the general ability to drop genre clichés and not just mechanically imitate them (and badly!). ()

Kaka 

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English What initially appears to be an unconventional B-movie, full of juicy visuals (you can see the signature the director of Iron Man), gradually turns into a pile of clichés and a dull display of various forms and quality of visual effects. It's been a long time since I've seen something so conceptually and dramaturgically mishandled, like the ending of this film. Cliché upon cliché – a final battle and a classic catharsis the likes I've seen a million times before. Perhaps nobody expected much from this film, judging by the title, and they won't get much either. I don't understand the insane budget. ()

J*A*S*M 

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English Wow! There really isn’t even a pinch of humour. Something like Cowboys and Aliens could never be good this way, even with the greatest genius behind the camera. To make with a serious face a film where a group of cowboys and Indians avert an invasion of aliens that have come to earth to mine gold (oops, spoiler) is mental. If it at least looked good, but no, not even that, it’s just two hours of grey and boredom. Not even the aliens are good! ()

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