The Ballad of Buster Scruggs (2018)

The Coen Brothers’ anthology film arrives at number 12, a playful yet poignant send-up of Western tropes delivered in six vignette-style tales. Streaming on Netflix, it marked a bold experiment, weaving ballads, tall tales, and grim ironies into a patchwork quilt of the Old West. From the titular singing gunslinger to a gold prospector’s folly, each segment showcases the directors’ trademark blend of humour and horror, with stunning cinematography by Bruno Delbonnel capturing vast, indifferent landscapes.

What sets it apart is its structural innovation—short stories linked by a book motif, echoing classic pulp magazines. Tim Blake Nelson shines as Buster, while Liam Neeson and Tom Waits deliver unforgettable cameos. Critically lauded (93% on Rotten Tomatoes), it earned three Oscar nominations, including for Best Adapted Screenplay. Though some criticised its episodic nature, the film’s wry fatalism and musical interludes revitalise the genre, proving Westerns can thrive in the streaming era.^[1]

In a decade craving originality, The Ballad of Buster Scruggs reminds us that the West’s myths are ripe for deconstruction, influencing later anthologies and reinforcing the Coens’ status as genre chameleons.

The Sisters Brothers (2018)

Jacques Audiard’s French-Canadian import ranks at 11, a darkly comedic road trip through 1850s Oregon starring Joaquin Phoenix and John C. Reilly as reluctant assassin brothers. Based on Patrick deWitt’s novel, it subverts hitman clichés with tender bromance and psychedelic detours, all under the glow of Mihai Malaimare Jr.’s golden-hour cinematography.

Phoenix’s volatile Eli and Reilly’s world-weary Charlie form a magnetic duo, grappling with loyalty amid greed-driven quests. Audiard’s shift from crime dramas to Westerns yields a film rich in period detail—grimy saloons, prospector camps—yet infused with European restraint. At 89% on Rotten Tomatoes and Venice Film Festival acclaim, it highlights the decade’s international influx into American genres.

Its strength lies in quiet revelations over gunfights, offering a fresh lens on brotherhood and redemption that lingers, cementing its place among understated gems.

Hostiles (2017)

Scott Cooper’s brooding epic places at 10, with Christian Bale as a jaded Army captain escorting a dying Cheyenne chief (Wes Studi) across hostile territories in 1892. Rosamund Pike and Rory Cochrane co-star in this meditation on racism, vengeance, and the dying frontier, shot in visceral 35mm by Masanobu Takayanagi.

Bale’s nuanced performance anchors the film’s slow-burn tension, evolving from duty-bound soldier to empathetic ally. Drawing from historical atrocities, it confronts Manifest Destiny’s brutality without preachiness. Though divisive (critics at 71% RT, audiences higher), its unflinching realism and Ben Foster’s chilling villainy earned praise, evoking Unforgiven‘s twilight mood.

Hostiles excels in atmospheric dread, bridging traditional oaters with modern anti-war parables, a testament to Bale’s commitment to rugged roles.

Bone Tomahawk (2015)

S. Craig Zahler’s debut hybridises Western and horror at number 9, pitting Sheriff Kurt Russell and deputies against cannibalistic troglodytes in 1890s California. With a sparse cast including Patrick Wilson and Richard Jenkins, its 130-minute runtime builds dread through dialogue and desolation.

Russell’s grizzled Hunt is pure iconography, while Zahler’s script delivers gallows humour amid gore. Shot on a shoestring, its practical effects and sound design amplify primal terror, earning a cult following (91% RT). It influenced gore-infused Westerns like The Dead Don’t Die, proving low-budget ingenuity can outshine blockbusters.

This film’s fusion of genres captures the 2010s’ boundary-pushing spirit, rewarding patient viewers with unforgettable savagery.

Logan (2017)

James Mangold’s superhero swan song ranks at 8, reimagining Wolverin’s final days as a dusty neo-Western in 2029 Texas. Hugh Jackman’s weary mutant herds cattle with Patrick Stewart’s frail Professor X, chased by cybernetic foes in a road saga echoing Shane.

Jackman’s career-best turn, raw R-rated violence, and Dafne Keen’s feral Laura steal scenes. Cinematographer John Mathieson’s dusty vistas and Ennio Morricone-inspired score ground the spectacle. A box-office hit ($619m) and Oscar nominee for Adapted Screenplay (93% RT), it redefined comic-book films as poignant elegies.

Logan‘s fusion of genres exemplifies the decade’s cross-pollination, blending pulp heroism with arthouse grit.

The Hateful Eight (2015)

Quentin Tarantino’s blizzard-bound chamber piece sits at 7, eight bounty hunters (Samuel L. Jackson, Kurt Russell, Walton Goggins) trapped in Minnie’s Haberdashery. Shot in 70mm Ultra Panavision, Robert Richardson’s widescreen frames trap paranoia like a pressure cooker.

Tarantino’s dialogue crackles with racial barbs and twists, earning an Oscar for Ennio Morricone’s score. At 75% RT and $155m gross, it revived roadshow spectacles while dissecting post-Civil War divides. Jennifer Jason Leigh’s Oscar-nominated turn adds venom.

A love letter to The Thing and spaghetti Westerns, it thrives on suspicion, showcasing Tarantino’s verbal pyrotechnics.

Wind River (2017)

Taylor Sheridan’s directorial debut claims 6, a stark procedural on a Wyoming reservation where Jeremy Renner tracks a killer with Elizabeth Olsen. Investigating Native American plight, it layers thriller tension atop social critique.

Renner’s nuanced tracker and Olsen’s greenhorn agent spark chemistry amid frozen wastes, with stunning aerials by Ben Richardson. 87% RT and Sundance buzz propelled it, highlighting indigenous erasure (echoed in Sheridan’s Yellowstone). Graham Greene’s veteran shines.

Its procedural rigour and quiet fury make it a vital neo-Western, amplifying marginalised voices.

True Grit (2010)

The Coen Brothers’ remake roars in at 5, with 14-year-old Hailee Steinfeld hiring Jeff Bridges’ Rooster Cogburn and Matt Damon’s ranger for vengeance. Faithful to Charles Portis’ novel, it revels in verbose showdowns and frontier vernacular.

Bridges’ raspy anti-hero rivals Duke Wayne’s, Steinfeld’s debut stuns, and Roger Deakins’ wintry palettes mesmerise. Ten Oscar nods, 95% RT, and $184m prove its pull. It revitalised period Westerns with biblical fury.

A masterclass in adaptation, balancing grit and poetry for timeless appeal.

Django Unchained (2012)

Tarantino’s blaxploitation spaghetti Western blasts at 4, Jamie Foxx’s freed slave teaming with Christoph Waltz’s charming dentist to rescue his wife from Calvin Candie’s plantation. Foxx, Waltz (Oscar winner), and Leonardo DiCaprio electrify.

Boldly tackling slavery, its operatic violence and pop soundtrack (Ennio meets hip-hop) grossed $425m (87% RT). Influences from Corbucci shine, with explosive set-pieces.

Unapologetic and exhilarating, it reclaimed the genre for underrepresented narratives.

Hell or High Water (2016)

David Mackenzie’s modern masterpiece at 3, brothers Chris Pine and Ben Foster rob banks to save their ranch, pursued by Jeff Bridges’ drawling ranger. Sheridan’s script dissects rust-belt despair.

Bridges’ banter steals scenes, Pine’s quiet rage simmers. Giles Nuttgens’ Texas vistas frame economic warfare. Four Oscar nods, 97% RT, $38m on $12m budget. A spiritual successor to No Country.

Thrilling heist morality play, acutely relevant.

The Revenant (2015)

Alejandro G. Iñárritu’s primal odyssey at 2, Leonardo DiCaprio’s frontiersman Hugh Glass crawling 200 miles for revenge after a bear mauling. Tom Hardy snarls as rival.

Emmanuel Lubezki’s natural-light wizardry (three Oscar wins) and raw survivalism earned DiCaprio his statuette (78% RT, $533m). Brutal authenticity redefined immersion.

A visceral triumph of human endurance.

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1. Ballad

2. Sisters

3. Hostiles

4. Bone

5. Logan

6. Hateful

7. Wind River

8. True Grit (2010)

9. Django

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#1: The Revenant (2015)

#2: Hell or High Water (2016)

#3: Django Unchained (2012)

#4: True Grit (2010)

#5: Wind River (2017)

#6: The Hateful Eight (2015)

#7: Bone Tomahawk (2015)

#8: Hostiles (2017)

#9: The Sisters Brothers (2018)

#10: Logan (2017)

#11: The Ballad of Buster Scruggs (2018)

#12: The Magnificent Seven (2016) – add a 12th.

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12th: The Magnificent Seven (2016) – Antoine Fuqua’s remake with Denzel Washington, Chris Pratt.

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Optional references.

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Conclusion

The 2010s proved the Western’s enduring vitality, evolving from wilderness epics to incisive commentaries on America’s soul. These 12 films, from Iñárritu’s raw naturalism to the Coens’ mythic wit, blend spectacle with substance, inviting us to ponder justice in lawless times. As neo-Westerns like Sheridan’s TV empire continue the legacy, one truth remains: the frontier lives in our collective imagination, challenging us to confront the past. Which of these rode highest for you?

References

• Scott, A. O. “The Ballad of Buster Scruggs Review.” The New York Times, 2018.
• Bradshaw, Peter. “Hell or High Water Review.” The Guardian, 2016.
• Travers, Peter. “The Revenant Review.” Rolling Stone, 2015.

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