Jornal Do Brasilia - Wild Horse Nine Review: John Malkovich Anchors Martin McDonagh’s Dark Comedy

Martin McDonagh’s Wild Horse Nine revisits the intersection of violence and mortality established in his debut, In Bruges, but achieves a deeper emotional resonance through John Malkovich’s commanding portrayal of a dying spy. Set against the backdrop of the 1973 coup that ousted Chilean President Salvador Allende, the film follows two CIA agents, Lee (Sam Rockwell) and Chris (Malkovich), on their final assignment in Santiago.

The narrative shifts to Easter Island as the pair prepares for retirement. However, their departure is complicated by orders from station chief Steve Buscemi to eliminate Chris. The directive stems from Chris’s indiscretions: he has revealed his identity to locals and threatened to publish a memoir exposing agency secrets. In a twist of dark irony, Chris has also ordered a hit on himself.

Diagnosed with terminal cancer, Chris wishes to view the island’s famous Polynesian stone heads before dying. The film structures its script with precise callbacks that reward repeated viewing, though its relaxed vibe initially obscures this architecture. McDonagh uses the visual contrast between the island’s rolling hills and Santiago’s European-style architecture to frame the story.

The core of the film lies in the camaraderie between Lee and Chris. Rockwell delivers strong work as the increasingly frustrated senior partner, whose mind remains sharp while his mentor’s deteriorates. Malkovich dominates the screen, drawing out dialogue to reflect Chris’s morphine-induced state while injecting moments of startling lucidity.

During a session dictating his memoir, Chris muses on the afterlife: "When I die, my cancer dies. Does cancer go to heaven? That’d be a shit heaven." These moments of levity contrast with his sharp reactions to danger, such as when Lee reprimands him for shooting at a suspected surveillance car. Chris’s retort, "What are we, hippies now?", captures the film’s blend of cynicism and humor.

The narrative explores whether Chris believes he killed former President John F. Kennedy, one of 68 people Lee claims Chris has eliminated. This uncertainty adds weight to his theological questions about Nazi soldiers and heaven. His Catholic faith prevents suicide, leaving him to seek atonement for past sins, including his treatment of Congolese President Patrice Lumumba.

This desire for redemption drives the climax. Chris kidnaps left-wing student activist Mariana di Girolamo to protect her during a shootout among the stone heads. He advises her to fight back against Pinochet’s death squads, counsel that ultimately saves her life. The film concludes with Lee weeping over his friend’s body, balancing tragedy with comedy through Malkovich’s portrayal of regret and devotion.

M. Oliveira--JDB