The film grossed a meager 5 million bucks the weekend it opened, far behind Toy Story 3, and was universally panned by reviewers -- and not without good reason.
The plot is trite and hard to follow, the acting average, and most of the time Hayward's visualization of the comic book material is boring. Ironically, Hayward got his start in the Toy Story franchise. He was an animator on Toy Story and Toy Story 2. But, watching Hayward's Hex, I was reminded of an old friend's put down of Midland, Texas. I spent a week there one night, he told me.
Josh Brolin, a talented and intelligent actor who has been on a roll lately, plods along in the title role. John Malkovitch seems to have dropped in for a couple of disconnected scenes. Malkovich can play villains like Quentin Humbolt, Hex's arch enemy, in his sleep, but there is so little connection between him and Brolin that you have to wonder if they were ever on the same set at the same time.
Megan Fox is billed as a star, but comes across as a bit player, making a cameo appearance. Fox badly needs to make the transition from teenager to woman to put the Transformer franchise behind her, but in Hex she comes across as a kid, dressing up in her grandma's clothes. There is something about her voice that works against Fox. She hasn't learned to make the slight disconnect between her body and her voice work for her the way Monroe did.
Hex won't appeal to fans of the Jonah Hex comic books, either. The writers left too much good stuff out. Fox's Tallulah Black is a far cry from the disfigured female bounty hunter of the Hex books, and El Diablo and Lazarus Lane, two -- or one, depending on how you look at it -- of the books' most imaginative creations, are missing completely.
Tallulah Black and El Diablo
Unlike Watchmen, the seminal graphic novel that established the form, the Hex books spanned so many years and versions that the writers had to boil the comics down in an attempt to distill the essential Jonah Hex from the books. In deciding what to leave in and what to leave out, they invariably chose to use the most hackneyed elements of the comics.
The next blockbuster franchise and comic book superhero turned movie icon won't be Jonah Hex. And yet, for anyone who is interested in pop culture and genre films, Jonah Hex is an important movie. Jimmy Hayward has made a very bad film. But, in making it, he has -- inadvertently, perhaps -- tested the limits of turning graphic novels into films.
Hex looks exactly like what it is, a first film by a director who knows absolutely nothing about the way real people move through real space. It ends up being a jumble of disconnected portraits, shots -- panels, if you will -- and, in memory, exists as an exact replica of a comic book. Watching Jonah Hex is like spending 90 minutes reading a graphic novel. No one will come closer to literally translating a graphic novel into film than Jimmy Hayward has.
But will anyone want to? Is thumbing through a graphic novel what most of us go to the movies to do?
Genre films, especially action-adventure films, require a compelling narrative and fast action. Action that is suggested by the static panels of a comic book must be realized in film. If you want to see what happens when a director ignores that basic truth, go see Jonah Hex. If not, save your money and catch Watchmen on cable TV.
The real Jonah Hex