July 13, 2025
Western Renaissance: Navigating Morality in 'The Unholy Trinity'
In this episode of *Movies First*, Chris and Jessica embark on a compelling journey into the world of *The Unholy Trinity*, a film that aims to breathe new life into the Western genre. With only three major Western releases anticipated in 2024, this unique project by Australian filmmakers Lee Zachariah and Richard Grey stands out by drawing parallels between the frontier mythologies of Australia and America. The hosts explore the film's gripping opening scene set in 1873, where the tension escalates as Isaacman Broadway, moments from execution, demands revenge from his estranged son, Henry.
As the narrative unfolds in the town of Trinity, the hosts discuss the layers of deception and missed connections, particularly highlighting Samuel L. Jackson's charismatic performance as St. Christopher, whose clever timing adds depth to the story. In contrast, Pierce Brosnan's portrayal of Sheriff Gabriel Dove brings a stoic gravitas, creating a dynamic interplay between restraint and flamboyance. Brandon Lessard's Henry Broadway embodies a more contemporary moral complexity, effectively representing the evolving nature of the Western genre.
Chris and Jessica delve into the film's exploration of violence and moral ambiguity, noting how it navigates the gray areas often overlooked in traditional Westerns. Despite its modern take, the film delivers a satisfying conclusion where good triumphs over evil, tying together complex themes of justice, redemption, and mistaken identity in a way that feels earned.
The hosts appreciate the film's authentic production design, capturing the gritty reality of frontier life, which contrasts sharply with the polished aesthetics of classic Westerns. As they discuss the film's relevance in today's society, they ponder whether *The Unholy Trinity* could spark a revival of the genre, inviting fresh perspectives that honor its roots while pushing boundaries. With a rating of 6 out of 10, Chris and Jessica conclude that this film, while not without its flaws, is a refreshing attempt to reinvigorate a once-dominant genre.
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WEBVTT
0
00:00:00.000 --> 00:00:02.200
Chris: Westerns used to dominate Hollywood with over
1
00:00:02.200 --> 00:00:04.960
140 films per year in the 1950s.
2
00:00:05.280 --> 00:00:08.280
But in 2024, we'll see just three major
3
00:00:08.280 --> 00:00:11.000
Western releases, making the Unholy
4
00:00:11.000 --> 00:00:13.120
Trinity a rare breed indeed.
5
00:00:14.000 --> 00:00:17.000
Jessica: That's such a dramatic shift in the industry. What
6
00:00:17.000 --> 00:00:19.720
really catches my attention about this one is how it's
7
00:00:19.720 --> 00:00:22.280
bringing fresh international perspective to such a
8
00:00:22.280 --> 00:00:24.320
quintessentially American genre.
9
00:00:25.280 --> 00:00:27.800
Chris: Well, you know what's fascinating about that? The
10
00:00:27.800 --> 00:00:30.360
Australian filmmakers behind this project, Lee
11
00:00:30.360 --> 00:00:33.080
Zachariah and Richard Grey, are actually
12
00:00:33.080 --> 00:00:35.760
tapping into some shared cultural DNA.
13
00:00:36.320 --> 00:00:39.120
Both countries have these powerful frontier mythologies.
14
00:00:39.680 --> 00:00:42.600
Jessica: Hmm, That's a really interesting parallel I hadn't
15
00:00:42.600 --> 00:00:45.480
considered. How do you think that shapes their approach
16
00:00:45.480 --> 00:00:46.960
to this Montana set story?
17
00:00:48.240 --> 00:00:51.120
Chris: So the way they handle the opening scene really
18
00:00:51.120 --> 00:00:53.680
shows their grasp of Western tension.
19
00:00:54.180 --> 00:00:56.900
Imagine this. It's 1873
20
00:00:57.300 --> 00:00:59.940
and a man named Isaacman Broadway is
21
00:00:59.940 --> 00:01:02.700
literally moments from execution when he
22
00:01:02.700 --> 00:01:05.140
spots his estranged son Henry in the crowd.
23
00:01:05.860 --> 00:01:08.540
Instead of saying goodbye, he uses his
24
00:01:08.540 --> 00:01:10.820
final breath to demand revenge.
25
00:01:11.700 --> 00:01:14.580
Jessica: Oh, man, that's such a loaded moment. Forcing this
26
00:01:14.580 --> 00:01:17.380
seemingly law abiding son to choose between honoring his
27
00:01:17.380 --> 00:01:20.340
father's last wish and maintaining his moral compass.
28
00:01:21.470 --> 00:01:23.870
Chris: Right, and here's where it gets really interesting.
29
00:01:24.510 --> 00:01:27.470
When Henry arrives in this remote town of Trinity, which
30
00:01:27.470 --> 00:01:30.150
his father helped build by the way, he ends up
31
00:01:30.150 --> 00:01:32.870
targeting completely the wrong person because the
32
00:01:32.870 --> 00:01:35.670
sheriff his father wanted dead is already six feet
33
00:01:35.670 --> 00:01:35.950
under.
34
00:01:36.590 --> 00:01:39.510
Jessica: The plot seems to have these layers of deception that you don't
35
00:01:39.510 --> 00:01:42.350
typically see in traditional Westerns. Like how
36
00:01:42.350 --> 00:01:44.790
Samuel l. Jackson's character, St.
37
00:01:44.790 --> 00:01:47.790
Christopher, keeps showing up at these perfectly timed
38
00:01:47.790 --> 00:01:48.190
moments.
39
00:01:49.210 --> 00:01:52.090
Chris: Speaking of Jackson, his performance here is
40
00:01:52.090 --> 00:01:54.930
exactly what this film needed. He's got this
41
00:01:54.930 --> 00:01:57.490
incredible swagger and this knowing
42
00:01:57.490 --> 00:02:00.410
grin that suggests he's always three steps
43
00:02:00.410 --> 00:02:03.330
ahead of everyone else. You can tell he's just having
44
00:02:03.330 --> 00:02:05.050
an absolute blast with the role.
45
00:02:05.770 --> 00:02:08.490
Jessica: Well, that's gotta create an interesting dynamic with Pierce
46
00:02:08.490 --> 00:02:10.890
Brosnan's more stoic sheriff, Gabriel Dove,
47
00:02:11.370 --> 00:02:11.770
right?
48
00:02:12.730 --> 00:02:15.570
Chris: Oh, for sure. Brosnan brings this wonderful world
49
00:02:15.570 --> 00:02:18.320
weary gravitas to the role he's playing. This
50
00:02:18.320 --> 00:02:20.880
upstanding lawman trying to clean up a town
51
00:02:21.120 --> 00:02:24.120
that's basically allergic to law and order. The
52
00:02:24.120 --> 00:02:27.080
contrast between his restraint and Jackson's more flamboyant
53
00:02:27.080 --> 00:02:29.120
presence really drives the tension.
54
00:02:29.680 --> 00:02:32.200
Jessica: And somewhere in the middle of all this, you've got Brandon
55
00:02:32.200 --> 00:02:35.160
Lessard playing Henry Broadway with this compelling, naive
56
00:02:35.160 --> 00:02:35.680
quality.
57
00:02:36.640 --> 00:02:39.600
Chris: You know what's really clever about the way they've structured this?
58
00:02:40.400 --> 00:02:43.040
They've taken these three very different performance styles
59
00:02:43.510 --> 00:02:46.150
and used them to represent different aspects of the Western
60
00:02:46.150 --> 00:02:49.030
genre itself. Brosnan's classical approach,
61
00:02:49.430 --> 00:02:52.390
Jackson's modern energy, and Lessard's more
62
00:02:52.390 --> 00:02:54.630
contemporary moral complexity.
63
00:02:55.430 --> 00:02:58.230
Jessica: That's such a smart observation about how they're balancing
64
00:02:58.230 --> 00:03:00.990
traditional Western elements with more modern storytelling
65
00:03:00.990 --> 00:03:01.590
approaches.
66
00:03:02.390 --> 00:03:04.910
Chris: And, uh, let's talk about how they handle the violence and
67
00:03:04.910 --> 00:03:07.750
moral questions. Because unlike
68
00:03:07.750 --> 00:03:10.070
classic Westerns, where everything was black and white,
69
00:03:10.750 --> 00:03:13.630
this film really leans into the gray areas, especially
70
00:03:13.710 --> 00:03:16.550
with Henry's character being forced to navigate this
71
00:03:16.550 --> 00:03:19.470
world of violence despite his ethical nature.
72
00:03:20.030 --> 00:03:22.830
Jessica: Though, in the end, they still give us that satisfying
73
00:03:22.830 --> 00:03:25.710
traditional Western conclusion where good triumphs over
74
00:03:25.710 --> 00:03:26.749
evil, don't they?
75
00:03:28.030 --> 00:03:30.950
Chris: Exactly. And you know what makes that work? The
76
00:03:30.950 --> 00:03:33.750
way they've built up all these complex threads about stolen
77
00:03:33.750 --> 00:03:36.680
gold, mistaken identity and revenge,
78
00:03:37.240 --> 00:03:40.200
but still manage to bring it all together in this explosive
79
00:03:40.200 --> 00:03:42.920
finale that feels earned rather than
80
00:03:42.920 --> 00:03:43.400
forced.
81
00:03:44.120 --> 00:03:46.760
Jessica: The production design really helps sell all of this too.
82
00:03:47.160 --> 00:03:49.560
They've clearly done their homework on capturing that
83
00:03:49.560 --> 00:03:51.640
1873 Montana setting.
84
00:03:52.520 --> 00:03:54.680
Chris: Um, um, speaking of authenticity,
85
00:03:55.480 --> 00:03:58.040
here's something interesting about modern Westerns.
86
00:03:58.600 --> 00:04:01.520
They actually tend to be more historically accurate
87
00:04:01.520 --> 00:04:04.440
than the classics. The dirt, the
88
00:04:04.440 --> 00:04:07.440
grime, the practical challenges of frontier life.
89
00:04:07.840 --> 00:04:10.280
It's all there in a way that those polished
90
00:04:10.280 --> 00:04:13.120
1950s Westerns never showed.
91
00:04:13.760 --> 00:04:16.760
Jessica: That attention to detail really helps ground all the dramatic
92
00:04:16.760 --> 00:04:17.680
elements of the story.
93
00:04:18.719 --> 00:04:21.520
Chris: So here's what I think makes this film particularly relevant right
94
00:04:21.520 --> 00:04:24.040
now. It's exploring themes of
95
00:04:24.040 --> 00:04:26.680
justice, redemption, and moral
96
00:04:26.680 --> 00:04:29.600
compromise at a time when. When we're having similar
97
00:04:29.600 --> 00:04:32.480
conversations in our society. It's just
98
00:04:32.480 --> 00:04:35.040
doing it through the lens of this genre. We don't see much
99
00:04:35.040 --> 00:04:35.520
anymore.
100
00:04:36.160 --> 00:04:39.120
Jessica: Well, viewers can judge for themselves when it hits digital
101
00:04:39.200 --> 00:04:42.000
platforms on July 16, 2025.
102
00:04:42.720 --> 00:04:45.720
Though I have to say, even if it's not perfect, it's
103
00:04:45.720 --> 00:04:48.720
refreshing to see someone trying to breathe new life into this genre.
104
00:04:49.600 --> 00:04:51.760
Chris: You know what's really going to be interesting to watch?
105
00:04:52.480 --> 00:04:55.160
Whether this film's approach mixing traditional
106
00:04:55.160 --> 00:04:58.120
Western elements with more complex modern storytelling
107
00:04:58.680 --> 00:05:01.640
might actually help revive the genre for a new generation.
108
00:05:02.280 --> 00:05:05.080
Because right now, we're seeing more international filmmakers
109
00:05:05.320 --> 00:05:07.800
interested in putting their spin on these
110
00:05:07.800 --> 00:05:09.400
uniquely American stories.
111
00:05:10.199 --> 00:05:12.600
Jessica: That could definitely lead to some fascinating new
112
00:05:12.600 --> 00:05:14.520
interpretations of the Western genre.
113
00:05:15.240 --> 00:05:17.880
Chris: And m, maybe that's exactly what the Western needs right now.
114
00:05:18.200 --> 00:05:21.010
Fresh perspectives that can honor the traditional while
115
00:05:21.010 --> 00:05:23.850
pushing it in new directions. After all,
116
00:05:23.930 --> 00:05:26.930
the best Westerns have always been about more than just cowboys
117
00:05:26.930 --> 00:05:29.850
and gunfights. They're about how we deal with change,
118
00:05:30.250 --> 00:05:32.810
justice, and what it means to be civilized.
119
00:05:33.370 --> 00:05:36.090
We give the Unholy Trinity a rating of 6 out of
120
00:05:36.090 --> 00:05:36.410
10.
0
00:00:00.000 --> 00:00:02.200
Chris: Westerns used to dominate Hollywood with over
1
00:00:02.200 --> 00:00:04.960
140 films per year in the 1950s.
2
00:00:05.280 --> 00:00:08.280
But in 2024, we'll see just three major
3
00:00:08.280 --> 00:00:11.000
Western releases, making the Unholy
4
00:00:11.000 --> 00:00:13.120
Trinity a rare breed indeed.
5
00:00:14.000 --> 00:00:17.000
Jessica: That's such a dramatic shift in the industry. What
6
00:00:17.000 --> 00:00:19.720
really catches my attention about this one is how it's
7
00:00:19.720 --> 00:00:22.280
bringing fresh international perspective to such a
8
00:00:22.280 --> 00:00:24.320
quintessentially American genre.
9
00:00:25.280 --> 00:00:27.800
Chris: Well, you know what's fascinating about that? The
10
00:00:27.800 --> 00:00:30.360
Australian filmmakers behind this project, Lee
11
00:00:30.360 --> 00:00:33.080
Zachariah and Richard Grey, are actually
12
00:00:33.080 --> 00:00:35.760
tapping into some shared cultural DNA.
13
00:00:36.320 --> 00:00:39.120
Both countries have these powerful frontier mythologies.
14
00:00:39.680 --> 00:00:42.600
Jessica: Hmm, That's a really interesting parallel I hadn't
15
00:00:42.600 --> 00:00:45.480
considered. How do you think that shapes their approach
16
00:00:45.480 --> 00:00:46.960
to this Montana set story?
17
00:00:48.240 --> 00:00:51.120
Chris: So the way they handle the opening scene really
18
00:00:51.120 --> 00:00:53.680
shows their grasp of Western tension.
19
00:00:54.180 --> 00:00:56.900
Imagine this. It's 1873
20
00:00:57.300 --> 00:00:59.940
and a man named Isaacman Broadway is
21
00:00:59.940 --> 00:01:02.700
literally moments from execution when he
22
00:01:02.700 --> 00:01:05.140
spots his estranged son Henry in the crowd.
23
00:01:05.860 --> 00:01:08.540
Instead of saying goodbye, he uses his
24
00:01:08.540 --> 00:01:10.820
final breath to demand revenge.
25
00:01:11.700 --> 00:01:14.580
Jessica: Oh, man, that's such a loaded moment. Forcing this
26
00:01:14.580 --> 00:01:17.380
seemingly law abiding son to choose between honoring his
27
00:01:17.380 --> 00:01:20.340
father's last wish and maintaining his moral compass.
28
00:01:21.470 --> 00:01:23.870
Chris: Right, and here's where it gets really interesting.
29
00:01:24.510 --> 00:01:27.470
When Henry arrives in this remote town of Trinity, which
30
00:01:27.470 --> 00:01:30.150
his father helped build by the way, he ends up
31
00:01:30.150 --> 00:01:32.870
targeting completely the wrong person because the
32
00:01:32.870 --> 00:01:35.670
sheriff his father wanted dead is already six feet
33
00:01:35.670 --> 00:01:35.950
under.
34
00:01:36.590 --> 00:01:39.510
Jessica: The plot seems to have these layers of deception that you don't
35
00:01:39.510 --> 00:01:42.350
typically see in traditional Westerns. Like how
36
00:01:42.350 --> 00:01:44.790
Samuel l. Jackson's character, St.
37
00:01:44.790 --> 00:01:47.790
Christopher, keeps showing up at these perfectly timed
38
00:01:47.790 --> 00:01:48.190
moments.
39
00:01:49.210 --> 00:01:52.090
Chris: Speaking of Jackson, his performance here is
40
00:01:52.090 --> 00:01:54.930
exactly what this film needed. He's got this
41
00:01:54.930 --> 00:01:57.490
incredible swagger and this knowing
42
00:01:57.490 --> 00:02:00.410
grin that suggests he's always three steps
43
00:02:00.410 --> 00:02:03.330
ahead of everyone else. You can tell he's just having
44
00:02:03.330 --> 00:02:05.050
an absolute blast with the role.
45
00:02:05.770 --> 00:02:08.490
Jessica: Well, that's gotta create an interesting dynamic with Pierce
46
00:02:08.490 --> 00:02:10.890
Brosnan's more stoic sheriff, Gabriel Dove,
47
00:02:11.370 --> 00:02:11.770
right?
48
00:02:12.730 --> 00:02:15.570
Chris: Oh, for sure. Brosnan brings this wonderful world
49
00:02:15.570 --> 00:02:18.320
weary gravitas to the role he's playing. This
50
00:02:18.320 --> 00:02:20.880
upstanding lawman trying to clean up a town
51
00:02:21.120 --> 00:02:24.120
that's basically allergic to law and order. The
52
00:02:24.120 --> 00:02:27.080
contrast between his restraint and Jackson's more flamboyant
53
00:02:27.080 --> 00:02:29.120
presence really drives the tension.
54
00:02:29.680 --> 00:02:32.200
Jessica: And somewhere in the middle of all this, you've got Brandon
55
00:02:32.200 --> 00:02:35.160
Lessard playing Henry Broadway with this compelling, naive
56
00:02:35.160 --> 00:02:35.680
quality.
57
00:02:36.640 --> 00:02:39.600
Chris: You know what's really clever about the way they've structured this?
58
00:02:40.400 --> 00:02:43.040
They've taken these three very different performance styles
59
00:02:43.510 --> 00:02:46.150
and used them to represent different aspects of the Western
60
00:02:46.150 --> 00:02:49.030
genre itself. Brosnan's classical approach,
61
00:02:49.430 --> 00:02:52.390
Jackson's modern energy, and Lessard's more
62
00:02:52.390 --> 00:02:54.630
contemporary moral complexity.
63
00:02:55.430 --> 00:02:58.230
Jessica: That's such a smart observation about how they're balancing
64
00:02:58.230 --> 00:03:00.990
traditional Western elements with more modern storytelling
65
00:03:00.990 --> 00:03:01.590
approaches.
66
00:03:02.390 --> 00:03:04.910
Chris: And, uh, let's talk about how they handle the violence and
67
00:03:04.910 --> 00:03:07.750
moral questions. Because unlike
68
00:03:07.750 --> 00:03:10.070
classic Westerns, where everything was black and white,
69
00:03:10.750 --> 00:03:13.630
this film really leans into the gray areas, especially
70
00:03:13.710 --> 00:03:16.550
with Henry's character being forced to navigate this
71
00:03:16.550 --> 00:03:19.470
world of violence despite his ethical nature.
72
00:03:20.030 --> 00:03:22.830
Jessica: Though, in the end, they still give us that satisfying
73
00:03:22.830 --> 00:03:25.710
traditional Western conclusion where good triumphs over
74
00:03:25.710 --> 00:03:26.749
evil, don't they?
75
00:03:28.030 --> 00:03:30.950
Chris: Exactly. And you know what makes that work? The
76
00:03:30.950 --> 00:03:33.750
way they've built up all these complex threads about stolen
77
00:03:33.750 --> 00:03:36.680
gold, mistaken identity and revenge,
78
00:03:37.240 --> 00:03:40.200
but still manage to bring it all together in this explosive
79
00:03:40.200 --> 00:03:42.920
finale that feels earned rather than
80
00:03:42.920 --> 00:03:43.400
forced.
81
00:03:44.120 --> 00:03:46.760
Jessica: The production design really helps sell all of this too.
82
00:03:47.160 --> 00:03:49.560
They've clearly done their homework on capturing that
83
00:03:49.560 --> 00:03:51.640
1873 Montana setting.
84
00:03:52.520 --> 00:03:54.680
Chris: Um, um, speaking of authenticity,
85
00:03:55.480 --> 00:03:58.040
here's something interesting about modern Westerns.
86
00:03:58.600 --> 00:04:01.520
They actually tend to be more historically accurate
87
00:04:01.520 --> 00:04:04.440
than the classics. The dirt, the
88
00:04:04.440 --> 00:04:07.440
grime, the practical challenges of frontier life.
89
00:04:07.840 --> 00:04:10.280
It's all there in a way that those polished
90
00:04:10.280 --> 00:04:13.120
1950s Westerns never showed.
91
00:04:13.760 --> 00:04:16.760
Jessica: That attention to detail really helps ground all the dramatic
92
00:04:16.760 --> 00:04:17.680
elements of the story.
93
00:04:18.719 --> 00:04:21.520
Chris: So here's what I think makes this film particularly relevant right
94
00:04:21.520 --> 00:04:24.040
now. It's exploring themes of
95
00:04:24.040 --> 00:04:26.680
justice, redemption, and moral
96
00:04:26.680 --> 00:04:29.600
compromise at a time when. When we're having similar
97
00:04:29.600 --> 00:04:32.480
conversations in our society. It's just
98
00:04:32.480 --> 00:04:35.040
doing it through the lens of this genre. We don't see much
99
00:04:35.040 --> 00:04:35.520
anymore.
100
00:04:36.160 --> 00:04:39.120
Jessica: Well, viewers can judge for themselves when it hits digital
101
00:04:39.200 --> 00:04:42.000
platforms on July 16, 2025.
102
00:04:42.720 --> 00:04:45.720
Though I have to say, even if it's not perfect, it's
103
00:04:45.720 --> 00:04:48.720
refreshing to see someone trying to breathe new life into this genre.
104
00:04:49.600 --> 00:04:51.760
Chris: You know what's really going to be interesting to watch?
105
00:04:52.480 --> 00:04:55.160
Whether this film's approach mixing traditional
106
00:04:55.160 --> 00:04:58.120
Western elements with more complex modern storytelling
107
00:04:58.680 --> 00:05:01.640
might actually help revive the genre for a new generation.
108
00:05:02.280 --> 00:05:05.080
Because right now, we're seeing more international filmmakers
109
00:05:05.320 --> 00:05:07.800
interested in putting their spin on these
110
00:05:07.800 --> 00:05:09.400
uniquely American stories.
111
00:05:10.199 --> 00:05:12.600
Jessica: That could definitely lead to some fascinating new
112
00:05:12.600 --> 00:05:14.520
interpretations of the Western genre.
113
00:05:15.240 --> 00:05:17.880
Chris: And m, maybe that's exactly what the Western needs right now.
114
00:05:18.200 --> 00:05:21.010
Fresh perspectives that can honor the traditional while
115
00:05:21.010 --> 00:05:23.850
pushing it in new directions. After all,
116
00:05:23.930 --> 00:05:26.930
the best Westerns have always been about more than just cowboys
117
00:05:26.930 --> 00:05:29.850
and gunfights. They're about how we deal with change,
118
00:05:30.250 --> 00:05:32.810
justice, and what it means to be civilized.
119
00:05:33.370 --> 00:05:36.090
We give the Unholy Trinity a rating of 6 out of
120
00:05:36.090 --> 00:05:36.410
10.
