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The film--only the second to be made by New Zealand-born writer-director Andrew Dominik--reminds us that Dominik's debut film, Chopper (2000), was the cunningly off-kilter portrait of another real-life criminal psychopath who became a kind of rock star to his society. The Jesse James of this telling is no Robin Hood robbing the rich to give to the poor, and that train robbery we witness is punctuated by acts of gratuitous brutality, not gallantry. Nineteen-year-old Bob Ford (Casey Affleck) seeks to join the James gang out of hero worship stoked by the dime novels he secretes under his bed, but his glam hero (Brad Pitt) is a monster who takes private glee in infecting his accomplices with his own paranoia, then murdering them for it. In the careful orchestration of James's final moments, there's even a hint that he takes satisfaction in his own demise.

Affleck and Pitt (who co-produced with Ridley Scott, among others) are mesmerizing in the title roles, but the movie is enriched by an exceptional supporting cast: Sam Shepard as Jesse's older, more stable brother Frank; Sam Rockwell as Bob Ford's own brother Charlie, whose post-assassination descent into madness is astonishing to behold; Paul Schneider, Garret Dillahunt, and Jeremy Renner as three variously doomed gang members; and Mary-Louise Parker, who as Jesse's wife Zee has few lines yet manages with looks and body language to invoke a wellnigh-novelistic backstory for herself. There are also electrifying cameos by James Carville, doing solid actorly work as the governor of Missouri; Ted Levine, as a lawman of antic spirit; and Nick Cave, composer of the film's score (with Warren Ellis) and screenwriter of the Aussie "Western" The Proposition, suddenly towering over a late scene to perform the folk song that set the terms for the book and movie's title.

Still, the real costar is Roger Deakins, probably the finest cinematographer at work today. The landscapes of the movie (mostly in Alberta and Manitoba) will linger in the memory as long as the distinctive faces, and we seem to feel the sting of its snows on our cheeks. Interior scenes are equally persuasive. Few Westerns have conveyed so tangibly the bleakness and austerity of the spaces people of the frontier called home, and sought in vain to warm with human spirit. --Richard T. Jameson

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As the tale begins in 1858, Call and McCrae, some years away from becoming the cattlemen depicted in Lonesome Dove, are Rangers serving under the educated and eccentric Scull as they work to protect the territory against marauding Comanches, led by the stern, vengeful Buffalo Hump (Wes Studi) and his crazed son, Blue Duck (Adam Beach). When Scull's horse is stolen by one of the Indians, he sets out to retrieve the beast, promoting both Call and McRae to Captain, and the rest of the story revolves primarily around them; in fact, although there's a reasonable amount of action (including the Comanche raid on Austin that opens Part Two), Comanche Moon is much less plot-dependent than character-driven, and it is Call (tough, taciturn, and totally clueless when it comes to the fair sex) and best friend McRae (an open-hearted, self-described jester) who are the most engaging of the bunch as they navigate the deep waters of their work and love lives (McRae with Clara and Call with the prostitute Maggie Tilton, played by Elizabeth Banks). McMurtry and co-writer Diana Ossana's dialogue manages to be at once plain and poetic, colorful and poignant, and regardless of what's actually happening onscreen, the miniseries has a light, often whimsical charm that separates it from most Westerns made for big and small screen alike. Extras include a "making of" featurette and more. --Sam Graham

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