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Hunt calls a local Native American man to examine the arrow, and informs Arthur of the news. The jail is empty and only an arrow is left behind. The murder is reported to Hunt, who investigates the scene and finds the horses missing. That night, at a stable house, a stable boy is murdered by unseen attackers. Leaving Samantha with Purvis and his deputy Nick, Hunt and the others return home. As the doctor is drunk, Brooder calls Samantha and escorts her to the jail to treat Purvis's wound. His wife Samantha, the doctor's assistant, tends to his wound. Meanwhile, foreman Arthur O'Dwyer rests at home with a broken leg. Hunt sends John Brooder, a local educated man and known womanizer who witnesses the shooting, to fetch the town's doctor. Sheriff Hunt shoots Purvis in the leg when he tries to escape. When asked his name, Purvis hesitates before giving the name "Buddy" in an attempt to hide his identity. At the town's saloon, Hunt confronts Purvis. Chicory, the town's elderly backup deputy, spots him and reports to Sheriff Franklin Hunt. Eleven days later, Purvis arrives in the small town of Bright Hope and buries his stolen belongings. Buddy is attacked and killed by unseen attackers, and Purvis escapes. Spooked by the sound of approaching horses, they hide in the hills and encounter a Native American burial site.
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Ahead of them lies bones, tomahawks and a tribe of troglodytes. Kurt Russell, no stranger to cult classics or westerns, is the stoic sheriff Franklin Hunt who sets off with Matthew Fox’s gun-slinging Brooder, Richard Jenkins’s endearing Chicory and Patrick Wilson’s crippled Arthur. Craig Zahler constructs a nail-biting odyssey to the underworld that subverts the classical genre expectations with real gusto. Utilising a unique symbiotic relationship of the western and horror genres, director S. But whereas The Searchers is filled with bright vistas and cartoonish humour to neutralise its dark subject matter, Bone Tomahawk is a continuously bleak revamping of one of the most celebrated Golden Age films. The narrative has echoes of The Searchers: a small group of men ride out to rescue loved ones who have been abducted by natives (or savages, if you live in the 19 th century). It’s an unsettling sequence but it epitomises why Bone Tomahawk is an awaiting cult classic and is in dire need of a larger audience. However, this is not a John Ford western of yesteryear there is no cavalry coming to the rescue and a similarly grotesque fate potentially awaits the rest of the cast. Moments later, that captive is hideously butchered by cave dwelling cannibals in a death scene of such oppressiveness and misery that it puts the Saw franchise to shame. “The cavalry is riding right now” reassures Kurt Russell to a fellow captive.