Do you have a video playback issues?
Please disable AdBlocker in your browser for our website.
Due to a high volume of active users and service overload, we had to decrease the quality of video streaming. Premium users remains with the highest video quality available. Sorry for the inconvinience it may cause. Donate to keep project running.
Panic strikes Jane Hammond when her outlaw husband John returns to their farm with bullet wounds. Jane then has to ask her ex-lover for help in order to save her outlaw husband from being killed by a gang.
Jane Got A Gun has the promise of a strong female leading Western; the by the numbers end result doesn't even barely eclipse the central trio's last time on screen.
O'Connor's movie is too sentimental and self-serious to add much of note to the mythos, but Portman embodies her character's grief no less movingly than her forebears.
A Western with potential for feminist table-turning and old-fashioned violence, "Jane Got a Gun" is a major letdown. Despite being co-produced by Portman, the movie sells her character short at nearly every turn.
Jane lacks a strong vision, doing justice to neither the camp potential of its title nor the sophistication of its structure. She's got a gun, all right, but it's shooting blanks.
As stripped-down, revisionist Westerns go, "Jane Got A Gun" may not have reinvented the wagon wheel, but it rolls out as a sturdy, well-crafted genre piece despite its rocky road to the screen.
This isn't a terrible movie; it certainly isn't the train wreck bomb of a release I've heard it described as. It just isn't anything great or especially engaging worth recommending.