6. The Salvation (2015)
The Salvation is a more straightforward revenge Western, but it’s one that’s elevated by its incredible performances and stunning cinematography. Set in the late 1800s, the film stars the brilliant Mads Mikkelsen as Jon, a Danish immigrant who arrives in the American West with his family, only to have them brutally murdered by a gang of outlaws. What follows is a relentless pursuit of justice, as Jon goes after the men responsible.
Mikkelsen’s performance is quiet but intense, conveying the strength of a man driven by grief and the need for revenge. We’ve seen this attitude more recently from Mikkelsen in Riders of Justice (2020), but that film’s blend of violence and comedy is not one shared by The Salvation. It’s brutal and unrelenting, although it never feels gratuitous. It’s a film about moral choices, the cost of revenge, and the price people are willing to pay for it. Jeffrey Dean Morgan’s performance as the ruthless gang leader adds a layer of menace, and at times one is reminded of Sergio Leone’s spaghetti Westerns, in particular the Dollars Trilogy (1964-1966).
The film’s landscapes are breathtaking, and the action scenes are tense and well-choreographed. But what truly sets The Salvation apart is how it captures the raw emotions of its characters. This isn’t a simple tale of good versus evil—it’s an exploration of loss, guilt, and the almost invisible line between justice and flat-out vengeance.
7. In a Valley of Violence (2016)
In a Valley of Violence is the best Western nobody talked about in 2016. Directed by horror auteur Ti West (he of X [2022], Pearl [2022] and MaXXXine [2024]) it’s a genre riff that appears to play everything dead straight—until it doesn’t. Ethan Hawke is terrific, as he so frequently is, doing his best Eastwood impression and proving his Western chops that he would latterly bring to the fore in Pedro Almadovar’s short, Strange Way of Life (2023). The result is a tight, stripped-down revenge flick that punches well above its weight.
Hawke is Paul, a drifter with a violent past and a loyal dog. When he rolls into a dusty ghost-town run by a swaggering James Ransone and his conflicted marshal father (John Travolta, rolling back the years), things unravel fast. What follows is a lean, 104-minute shootout in slow motion—part dark comedy, part elegy for a genre that’s always been teetering on the edge of self-parody.
West dials back the horror but keeps the tension; every scene dangles on the brink of violence, and when it comes, it’s swift and brutal. The real surprise is how funny it all is. Not in a wink-to-the-camera way, but with genuine, character-driven absurdity.
In a Valley of Violence might not be the first Western that springs to your mind when you think of the 2010’s—but it’s a damn fine Western. Sharp, smart, and completely unpretentious.
8. Wind River (2017)
Wind River is one of the most haunting Westerns of the 2010s, with a chilling atmosphere that perfectly complements its hard-hitting social commentary. Written and directed by Taylor Sheridan, the film is set on a Native American reservation in Wyoming, where a veteran tracker (Jeremy Renner) teams up with a rookie FBI agent (Elizabeth Olsen) to solve the murder of a young woman.
Sheridan had already written Sicario (2015) and Hell or High Water (2016) by the time he stepped behind the camera for the first time, so his talent was obvious, and even if Wind River doesn’t quite perhaps hit the heights of those two films, it’s an incredibly impressive directorial debut.
The film excels not only in its tense, procedural narrative but also in how it addresses Western themes of isolation and survival with a modern crime story. The setting—a snow-covered, desolate reservation—becomes a character in itself, with the unforgiving climate reflecting the characters’ inner struggles. Renner and Olsen share a great dynamic, and their performances ground the film with a true sense of realism, meaning that when tragic events occur, they hit much harder.
Sheridan creates a sense of dread that builds steadily throughout the film. At Wind River’s conclusion we’re left with no easy answers but instead difficult questions about the lingering trauma of violence; this is a world away from the light hearted (but superb) Hell or High Water. Wind River leaves a lasting impact, and in terms of feature films, it’s a shame we’ve only seen Sheridan behind the camera once more since.
9. Hostiles (2017)
Hostiles is arguably one of the finest Westerns of the 2010’s. Directed by Scott Cooper, it tells the story of Captain Joseph Blocker (Christian Bale), a hardened military officer tasked with escorting a dying Cheyenne chief (Wes Studi) and his family across dangerous terrain to their homeland.
What makes Hostiles so effective is how it explores the moral complexities of its characters, in a time period which was filled with ill-informed prejudice and hatred. Blocker is a man consumed by the horrors he’s seen in his life, but as he embarks on this journey, he begins to confront his own demons. Bale’s performance is without doubt one of his best, as he navigates a character who is both repellent and sympathetic.
Hostiles doesn’t make light of the brutality of the period, but it also highlights the possibility of healing and forgiveness, even in the face of appalling violence; something that Rosamund Pike’s Rosalie Quaid struggles with throughout the film after her entire family are murdered in the opening scene.
Indeed, Pike’s performance is astonishing; slowly intertwining her solace with Blocker’s regimented beliefs after he finds her amongst the ashes of her home, both of them slowly allowing themselves to trust again as they traverse dangerous terrain both physically and internally.
Hostiles is a Western that doesn’t revel in its savage violence but instead asks difficult questions about the legacy of conflict and the potential for redemption. It’s really something.
10. The Rider (2017)
In terms of genre, The Rider is difficult film to pin down. Directed by Chloé Zhao, the film follows Brady Jandreau, a young rodeo rider whose career is cut short after a devastating head injury. What follows is a contemplative exploration of identity, masculinity, and the struggle to come to terms with a new way of life.
The Rider blends fiction with documentary-style realism; Jandreau plays a version of himself, and his performance is deeply authentic, conveying the emotional weight of a young man torn between his dreams and the reality of his situation. The film is slow, and full of quiet moments that speak volumes. It often taps into the idea of the human spirit, as well as channeling resilience, and the search for meaning in a life that has changed irrevocably.
The cinematography is breathtaking, capturing the vast emptiness of the South Dakota landscape and the emotional isolation that Jandreau’s character feels after his accident.
The Rider is a Western, but it’s also something more—an exploration of what it means to be human in a world that can often seem indifferent, and singled Zhao out as a director to be reckoned with; within four years, she’d bagged herself an Oscar win for Nomadland (2020).