The Wasteland Reviewer

The Unholy Trinity (2025) Written Review

How often do we get westerns anymore? This is a genre that was one of the original building blocks of cinema with films like The Great Train Robbery garnering attention back at the turn of the 20th century. But this was a genre that began to go out of style once the 1990’s rolled around. There are still westerns that come out, but the glory days of the genre are gone. The familiar and expected feel of so many westerns wore on people and it takes a real special film to stand out in 2025. But director Richard Gray tackles this fading genre with a brand-new western thriller that puts a small Montana town on the brink of chaos…The Unholy Trinity.

Does Gray’s approach give his new film enough personality to stand out in this aging genre? There is a lot of grit to The Unholy Trinity. This a weighty atmosphere that brings seriousness and intensity. There are no bright colors or gorgeous vistas as Gray highlights the darker edge to the tough and brutal life in the frontier. There are some moments that highlight the beautiful mountains of Montana but generally this is a darker and grim experience. Little humor along the way (mostly from one star you would expect to bring that type of flair), The Unholy Trinity is a serious story that Gray focuses on. The action beats are rock solid with some fleeting moments of inspired cinematography. There are not many moments that really stand out from a filmmaking standpoint, but the overall experience fits this darker tale full of secrets and betrayal. The music from Marco and Tristan Beltrami probably offers up the most personality in all the film (well…except for that one actor again).

Does the screenplay from Lee Zachariah offer up a fresh and engaging western cinematic experience? The themes are the film are certainly rooted in the fabric of the western genre. There are conflicts stemming from the integrity of the law. Some lawmen are more lawful than others. There are also deep seeded thematic threads around revenge. What starts as a story of vengeance for our protagonist, Henry Broadway, gives way to a revelation about the cyclical and never-ending perpetuation of violence and hate. Gray’s tone works perfectly with Zachariah’s themes for sure. Narratively, The Unholy Trinity is shaky and overly convoluted. Henry’s tale begins with a last wish from his father. Kill the sheriff that framed him. This singular request sets off a series of unfortunate events that fully envelop a small frontier town. Henry is pulled between the new lawman in town (Pierce Brosnan) and a mysterious criminal (Samuel L. Jackson). What could have been a straightforward tale turns into a tangled web of multiple revenge plots, lost gold, sex workers getting murdered, the mystery of a murdered sheriff, and a native woman on the run. Some of these elements feel essential for the journey of Henry and the thematic elements of the film. Others feel like they could have been trimmed away without losing much and in turn would give more space for depth in the more essential beats. There isn’t much here that will shock or surprise you, but it gives you that safe feeling of classic genre tropes.

Does the cast help carry Gray’s film through some of the more muddled elements of the story? Brandon Lessard is a solid if unremarkable lead performer who lacks the presence to really anchor the film down. Luckily you have two screen legends to do that. Brosnan is refined and subtle in his strong performance as the Irish sheriff of this town who leverages law and wisdom to keep this town together. Brosnan has the right gravitas to sell that well. The real standout of the film with buckets of charisma (as always) is Jackson. He turns his presence back a few notches to fit well into this grounded and gritty picture. But that doesn’t stop him from stealing every scene. One of the unexpected stand outs in the film is Veronica Ferres who makes the most of her screen time as she adds layers to the wife of Brosnan’s Sheriff Gabriel Dove. There are some other solid turns throughout the film as they make this small town feel authentic.

Is The Unholy Trinity the type of film that can get people excited about westerns? Gray’s film does not quite rise to that type of influence. This is a solid genre film that has a strong atmosphere, a few strong performances, and some core themes that resonate. But mostly this is an engaging and solid western that fits well into the expected beats and tropes of the classic western. If you are a fan of westerns, this one will scratch that itch. Otherwise, this might not be the kind of western that gets buy-in from those inspired by the genre.