Full review: <a>https://www.tinakakadelis.com/beyond-the-cinerama-dome/2021/12/28/not-quiet-on-the-western-front-the-power-of-the-dog-review<a> The film centers on two brothers, Phil (Benedict Cumberbatch) and George Burbank (Jesse Plemmons) in 1925 Montana. They’re wealthy ranchers who are polar opposites. Where Phil is brutal and ruthless, George is kind and quiet. Their relationship splinters when George marries Rose, a widow (Kirsten Dunst). Campion makes you believe that this is where the meat of the movie will be, in this fractured brotherly relationship, and for a while it is. It’s a fascinating look at two versions of masculinity at odds with each other in a world that could be considered the peak of masculinity. I couldn’t help but think of Kelly Reichardt’s First Cow and Andrew Haigh’s Lean on Pete, two lovely movies grappling with the same concept of masculinity in the harshness of the American West.

Brothers "Phil" (Benedict Cumberbatch) and "George" (Jesse Plemons) are the bit chalk-and-cheese brothers who own a successful cattle ranch. On a trip to town, "Phil" upsets the owner of the hotel "Rose" (an effective Kirstin Dunst) after he rather cruelly insults her extremely svelte teenage son "Peter" (Kodi Smit-McPhee) who had taken some care to prepare intricate paper decorations for their dining table. We don't know how long "George" and "Rose" have been friends, but next thing we know they are married and the pretty unpleasant "Phil" sets out to make her life as miserable as possible. He is never overtly cruel - there is no violence, but mental abuse that sends her seeking solace in the bottle. When her son joins them from school, he fixes him fairly and squarely in his sights too - introducing a hint of homo-eroticism and scheming to the last fifteen minutes that makes you sit up. Again, no action as such - there are no gunfights or fisticuffs, just a cleverly structured denouement that I felt fitting. The pace is really slow, the dialogue pretty laconic, Cumberbatch's accent is all over the place and the score becomes wearisome after a while - the sounds of the constant high pitched violins really did begin to grate. It is a lovely film to look at, plenty of attention to the detail, but it is altogether just a bit so what.

The ending does not match the pacing of the the entire film at all. It's almost abrupt - and not in a terribly satisfying way. It could have been 30 minutes shorter if it did less artful shots of wheat or a horse standing. Or at least for less time. It doesn't even really say anything interesting about it either.