“The Rodeo Thief” is the third film I’ve watched by writer/director Brett Bentman, but only the first that did not star a professional wrestler (2019’s “90 Feet From Home” starred WWE’s Shawn Michaels; 2020’s “Copper Bill” WWE/AEW’s Dustin Rhodes). As with his two previous efforts, Bentman seems concerned with basking viewers in Texas life and personality—something he is very good at. But “The Rodeo Thief,” using actor Thom Hallum more as a lead than a supporting actor, steps out of the comfort zone offered in “Copper Bill’ and presents audiences with a tale that attempts to be more personal than its predecessor. The film is engaging, easily watchable, and, under it all, relatable—despite its less than moral characters.
Bentman is used to painting hard characters, and “The Rodeo Thief’s” Boone Carson (Thom Hallum) is no exception. With quick strokes we see his lot: he’s a burned out rodeo star who broke his back in a bull-riding injury who never got back on the horse. His mother is sick with cancer at home, their house is nearing foreclosure, his brother is in jail, and he works for a loanshark (Robert Keith). The film’s opening shows Carson to be no nice guy indeed. He cuts off the finger of a mark that owes him money (Billy Blair), and gives him two days to pay up.
But, for its semi-vicious opening, “The Rodeo Thief” wants to concern itself with the inner-working of its lead, rather than to bask its characters in bravado and cliché. Not to say there’s no predictability here. We get to see Hallum’s gruffness (which he is indeed good at), along with some tough guy talk and barroom fights. However, the film, written solely by Bentman, shines a lens into the depths of its lead and its small-Texas town. The movie wants to paints Carson harder than he is—beer swigs line his nights, and short tempers his days. But there’s something to him, seen in his interactions with loved ones, old co-workers, and friends, that makes us want to like him. There’s pain, and drive, and some of Bentman’s finest scenes take place not amidst “The Rodeo Thief’s” action, but its heart and dialogue.
Some of “The Rodeo Thief’s” lull come alongside its plotting and scheming; but, amidst this, the film casts a pallor over its characters that is hard to ignore. The cinematography is once again done by Anthony Gutierrez, and the one thing that stands out is how much Bentman and Gutierrez want these films to feel like Texas. They have an air to them very much akin to “Training Day” or “Drive.” The sun hurts here, and we can feel the atmosphere of the film, which becomes just as integral an element to the film as the plot itself.
A scene from “The Rodeo Thief” (B22 Films, 2021).
The acting is all pleasing, with Hallum delivering the most dynamic performance. However, without sharing the screen with WWE superstars, Hallum is allowed to shine, and truly carries this movie. He is surrounded by other likable characters, such as Billy Blair, Robert Keith, Sam Marra, and Nadirah Shakir, who plays Carson’s ex-girlfriend. And the addition of Donna Morrell Gafford as Boone’s mother and Jim Burleson, who plays his jailed brother, add to the film in unique ways. The dialogue-laden scenes Hallum shares with both are the fodder of good cinema, and allow us to see Bentman’s characters’ desires and personalities. And, while not a mark against the director’s previous film, which focused more on action and pace, “The Rodeo Thief” seems to be reaching back to the writing of the moving “90 Feet From Home” for inspiration. Its pace waxes and wanes throughout, but its dialogue sticks the landing more than does its action. If a criticism does exist, it’s that Boone Carson is not nearly as wicked as the script wants him to be, leaving sometimes confusing scenes in his wake.
But, at the end of the day, “The Rodeo Thief” has much of what will whet the appetite of fans of Bentman’s previous works, as well as fans of indie cinema. The film has a good focus, interesting characters, and a plot—that while familiar—that takes “Rodeo” to a nice conclusion. Its ending throws a curveball your way with a twist that is both unexpected and welcome, and leaves audiences looking forward to Bentman’s next project. “The Rodeo Thief” is a definite recommend, but I’d suggest familiarizing yourself with Bentman’s two previous films first.
*“The Rodeo Thief” is set for release on Wal-Mart DVD and streaming on March 3, 2021.
2 Comments
Would be nice for all the animal lovers out there to enlighten them as to why all these roping horses were needed. Was any hurt? Cruelly treated? Killed? etc. Seems too many reviews nowadays lack those animal facts. If okay for a child/teenager to watch, but being animal lovers, they need this information.
Thanks
Barb, I’m trying to approach your comment from the correct standpoint. Is this a troll? I’m going to assume it’s not, and answer your question. I appreciate any concern for animal treatment on or off the set, and most Hollywood films have attested to no animal maltreatment in the making of films for many, many years.
Did you watch this film and/or the credits?
In the case of “The Rodeo Thief,” the film had professional horse wranglers on staff, and they have the attestation: “Characters and incidents portrayed and the names herein are fictitious, and any similarity to the name, character, or history of any person is entirely coincidental and unintentional. No animals were harmed in the making of this film.”
I do believe this information is necessary, and should be included in the credits of any film featuring animals. I do not believe it is the function of the film critic, whose job is art analysis, but the film production team to discuss these facts.
Best,
Mark Ziobro, Chief Editor.