Ed Harris did not appear as a clear leading man 44 years ago when he starred Asorja A. Romero is an incredibly unstable "booksters", But there was something about the 32-year-old actor with Balding with piercing, Paul Manuman-ESK blue eyes that ordered your attention. He could be solid, gentle and a little stupid. These qualities continued to be obvious in films such as "doing things", "Alamo Bay" and "Sweet Dreams", so he finally got a chance to co-fix Mass Hollywood production in 1989 with Jameseims Cameron's Abis. He used the task (like his co-Starvaza Mary Elizabeth Mastronio), but the film was underestimated at the box office (although it is still the best thing directed by Cameron), so he became more than a personal actor in the 90s, while he personally developed his next leading role.

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Harris did His directorial debut with "Pollock", Biopic for the revolutionary abstract painter Acksexone Pollock and gave a fiercely dedicated performance as much as justified for 10 years he spent trying to bring the project to the screen. As a director, Harris brought the pervasive intensity of the artist's research with a difficult shooting. It was not a movie that fueled the blinding Chinese technique, but it put you on the wavelength of the man who seemed to vomit his internal turmoil on the canvas. Although Pollock respects certain stunning biopic conventions, Harris's pulsating energy in front of and behind the camera separated it from other films of his genre.

When he received a nomination for Best Actor for Pollock, those of us who come to respect Harris as one of his most interesting movie stars of his era had high hopes that he would continue to generate leading parts for himself as he continued to do his immensely satisfying actor in Big Hollywood. He did well on the second, but did not step behind the camera until 2008. For whatever reason, despite receiving mostly good reviews (there is a fresh rating of 77% in "Rotot Tomatoes"), that second director's effort is completely forgotten.

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Stunningly, despite having a finely intertwined vision and occasional rough behavior, Harris has never appeared in a traditional western before directing Robert B. Parker. About 10 minutes in the film, you realize that he was a positive born in the genre, as an actor and director.

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The film is direct yarn for several freelance lawmakers, Harris and Vigo Mortensen (odd Union of "History of Violence"), which are engaged in cities in danger of being overcome by a criminal element. At the beginning of the film, Harris and Mortensen find themselves in a shop in the title city, which terrorizes a wicked rancher (delicious wicked Ereeremi Ayrons), who believes it is above the law. It is a conventionally drawn story reinforced with a firmly structured scenario by Harris and Robert Cot, but stands out from other contemporary Western, as Harris devotes a little extra time to the development of each key character.

Harris and Mortensen are perfectly paired as a few old peacekeepers who may end their usefulness. They certainly cannot continue cleaning cities much longer, so when Harris's sheriff falls head over heels for a fierce independent widow musician (Renee Zellweger), he listens to wedding Svona. Harris and Zellweger are great in their scenes together, which leaves you to want to connect again.

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