Although Macfadyen — also a screenwriter and producer on the project — is a welcome contrast to two hours of boredom, he is underused and undervalued in a low-budget production that feels more like a hero’s journey of the Wild West than a sword-slinging epic set in the Scottish Highlands. Robert the Bruce does a disservice to its predecessor based on its sheer faultiness on everything from script to setting to characterization. What viewers may remember about this film, if anything, is that the filmmakers should have left well enough alone. The sequel — made a quarter century after “Braveheart” but picking up right in its wake — feels choppy and quite unnecessary.

Even at its core, Robert the Bruce fails to conjure lasting historical appreciation for the man who helped orchestrate Scottish resistance to English tyranny and led the nation from 1306-1329. Robert, a famous warrior of his age, led his nation through the First War of Scottish Independence and is, today, deemed a national hero. His appearance in the eponymous film feels like an irrelevant backstory to decades of service.

Specifically, the film picks up where “Braveheart” left off — with Robert now carrying William Wallace’s banner and leading the Scots into battles to rid themselves of English rule. But it features far less glory. The ’95 film, masterfully penned by Randall Wallace, was able to capture global attention as an unflinching war epic with sweeping vistas, accurate period attire and an intriguing narrative — capped off by a compelling turn from Gibson. Here, Robert’s army reaches the ultimate battle fatigue and his ranks begin to fracture; as such, and with a bounty on his head, he resigns to his new fate and flees.

His soldiers, some of whom ultimately show a preference for Edward II’s rule or simply shift their allegiance with some coin, agree to hunt Robert for a sizable bounty. Soon, the Scottish sovereign is left for dead in the snowy mountains (actually Montana’s beautiful Yellowstone River Valley), until discovered by a peasant family, which at first fails to recognize the beleaguered king. They heal and feed the Scottish ruler, only to slowly reignite his passion for the fight. He’s left to ward off the family’s vengeful uncle figure, Brandubh (Zach McGowan, “Dracula Untold”), and reclaim his throne and Scotland’s sovereignty.

Throughout, Gray and Macfadyen limit the film’s scope, scrapping memorable cinematic battles in lieu of drawn-out and somewhat lackluster beats with familial disputes and Robert’s entry into the lives of this family. Performances from the family members, including matriarch Morag (Anna Hutchison, “The Cabin in the Woods”), her young son Scot (Gabriel Bateman, “Lights Out”), niece Iver (Talitha Bateman, “Annabelle: Creation”) and nephew Carney (Brandon Lessard, “Broken Ghost”) are certainly strong, but are eclipsed by needless scenes at their forested hovel as they begin to shelter the king.

Despite its slow pacing and tepid salute to its predecessor, Robert the Bruce still features remarkable frames — chalked up as the Scotland’s hillsides — as well as a likable turn from Macfadyen in the same role that once found him transform from turncoat to hero. Conceptually, Robert the Bruce has a riveting premise; its execution, however, is poor. The filmmakers’ salient choices — including genre, apparently — craft more of a snowy western than a medieval brawl, and its rather innocuous approach seems far too different from “Braveheart” to be its “sequel.”

Sure, a subtle nod to Gibson’s cinematic world is likely a strong approach for Gray, but the lax storytelling and poor pacing makes this new work a mostly forgettable effort destined for video-on-demand anonymity.

In Top 10 Criminal Movie Couples we will take a look at tragic twosomes bound by affection but damaged by connection on the wrong side the law. Whether robbing banks, using or selling drugs, committing murder, prostitution or fraud one thing is very clear –these crime-loving couples are devoted to one another regardless of right or wrong (with the emphasis on wrong . . . naturally).

In ALPHABETICAL order of movie title, the Top 10 Criminal Movie Couples are as follows:

#10 “Badlands” (1973) featuring Kit Carruthers and Holly Sargis

Although the scenic surroundings and omnipresent serenity of the South Dakota badlands is a given the horrific events that invade the small community of Fort Dupree are undeniably disturbing courtesy of a murderous 25-year old James Dean wannabe named Kit (Martin Sheen) and his mousy 15-year old teen lover Holly (Sissy Spacek) as they venture randomly while leaving bloodshed in their path in the 1950s. “Badlands” was the nostalgic early 70’s crime drama that told of vintage youth-oriented alienation and dissatisfaction. Kit had a rebellious problem with day-to-day conflicting existence and Holly had a distant and complex relationship with her hard-to-reach blue collar father (Warren Oates). This touchy twosome’s romantic involvement spelled catastrophe from the get-go as Kit eventually gunned down his teenager lover’s father finally releasing the awkward Holly from her restrictive parent. Thus, the crime spree couple wallow in dead end decadence, but at least have one another to face the murky music together in colorful chaos and confusion.

#9 “Bonnie and Clyde” (1967) featuring Bonnie Parker and Clyde Barrow

Now who doesn’t know about the crime-ridden exploits of notorious bank robbing lovers Bonnie Parker and Clyde Barrow? Filmmaker Arthur Penn’s late 60’s biopic of the Barrow gang showcasing Faye Dunaway and Warren Beatty as the romantic robbers leading their precarious pack in knocking off banks and becoming media misfit celebrities as puzzled yet determined law enforcement officials look to capture their hunted heads on a platter. Strangely, Clyde was charismatic and street-smart while Bonnie was feisty and alluring in feminine independence. Together, Bonnie and Clyde were risk-taking hellions attached to the adrenaline of law-breaking chance. This is yet another case of a swaggering small-time bad boy charming the pants off of a disillusioned diva waiting to be rescued from her monotonous malaise. Bonnie and Clyde would finally get their deadly comeuppance, but not before making playful mincemeat out of the frustrated Authority out to cease their crime-cavorting ways.

#8 “Bully” (2001) featuring Marty Puccio and Lisa Connelly

Director Larry Clark’s underrated kiddie crime caper “Bully” was based on real life events involving a group of Florida-based teens subjected to the bullying antics of a wayward mutual friend named Bobby Kent (Nick Stahl) whose constant turbulent behavior had a caustic hold on the pubescent pack. With Bobby’s aggressive pushiness against a more easy-going and quieted Marty Puccio (Brad Renfro) and rape of Ali Willis (Bijou Phillips), he simply had to be stopped. So Marty and his more vocal and fed-up girlfriend Lisa Connelly (Rachel Miner) had to scheme to eradicate the brutal Bobby once and for all. And so the lovey-dovey Marty and Lisa — along with the rest of the weary gang — had to construct a scandalous way to silence the menacing Bobby via a graphic nighttime multiple stabbing in the alligator-infested marsh. Both wishy-washy Marty and the strong-willed Lisa were the leading lovers that concocted the disturbing demise of the riff-raffish Bobby Kent.

#7 “Dog Day Afternoon” (1975) featuring Sonny Wortzik and Leon Shermer

Gay bank robber Sonny Wortzik (Al Pacino) decided to rob a Brooklyn bank in the middle of a hazy summer day for the purpose of financially paying for a sex change operation for his male lover Leon Shermer (Chris Sarandon). Sonny, along with his accomplice Sal (the late great character actor John Cazale), stumbled upon some complications while holding up the bank with most of the cash transferred for the day. Desperate and concerned, Sonny has no choice but to consider taking hostages in an effort to secure some safety for himself and Sal if they were to hatch a getaway without police interference. Based on a true story, “Dog Day Afternoon” was shockingly audacious as Pacino and Sarandon (both blessed with Oscar nominations for their roles) were the unconventional homosexual tandem tied in passion and punishment concerning their law-breaking deeds. Sidney Lumet’s bizarre crime potboiler is just as edgy and compelling as it was when first presented on the big screen some four decades ago.

#6 “Double Indemnity” (1944) featuring Walter Neff and Phyllis Dietrichson

Director Billy Wilder’s cunning and crafty film noir “Double Indemnity” weaved some terrific display of intrigue, shadiness and murder. The film’s leads in Fred MacMurray and Barbara Stanwyck were masterful as the cohorts in secretive love and murder/insurance scams. Pacific Risk All Insurance Company agent Walter Neff (MacMurray) teams up with his client’s seductive and sinister wife Phyllis Dietrichson (Stanwyck) as they carry on an affair and plot to terminate Phyllis’ hubby to take advantage of an accidental double indemnity insurance clause that pays double the payout. However, the sudden death of Mr. Dietrichson adds further finger-pointing suspense as Neff’s insurance colleague Barton Keyes (Edward G. Robinson) becomes rather cynical and does not believe that Dietrichson’s demise is what it appears to be in actuality. Naturally this causes some anxious moments for the opportunistic law-breaking lovebirds as the insurance fraud premise is becoming more sketchy by the movement. The spell-binding bumps and the Neff-Dietrichson love-and-larceny angle is what drives the twisted beauty and balance of the classic “Double Indemnity.”

#5 “Monster” (2003) featuring Aileen Wuornos and Selby Wall

Florida-based prostitute Aileen Wuornos (Charlize Theron in her Oscar-winning role) has had her share of deepened demons long before her decision to turn tricks and possess an itchy trigger responsible for killing shady johns after (or before) servicing them. The haunting Aileen would soon become somewhat grounded when she meets the youngish and diminutive Selby Wall (Christina Ricci) at a local bar. The two women form an intimate bond as Selby “softens” up the psychotic Aileen by giving her some security of affection. Aileen learns to loosen up as she and Selby enjoy bowling, drinking, visiting the amusement park, etc. Aileen even tries to straighten up her act and get a job — an unrealistic attempt but still a tribute to Selby’s positive influence. Unfortunately, Aileen would instinctively gravitate back to the sure thing of sexually entertaining johns and snuffing out their lives in an attempt to survive financially and keep her relationship afloat. Director Patty Jenkins’ real-life inspired law-breaking lesbian love story laced with crime and casualties is one of the most unsettling character studies in recent cinema memories.

#4 “Natural Born Killers” (1994) featuring Mickey Knox and Mallory Wilson Knox

Director Oliver Stone’s R-rated raucous and over-the-top crime caper “Natural Born Killers” was an overly kinetic and brutal bloodbath that dared to offer explosive commentary on the sensationalism of circus-oriented media and journalism obnoxiousness. Stone’s two poisonous protagonists are the weirdly engaging and impish married couple Mickey and Mallory Knox (Woody Harrelson and Juliette Lewis) that first became lovers with one common bond in mind — they were definite victims of tumultuous childhoods. So naturally Mickey and Mallory would unleash their bad ass aggression on an unsuspecting world as blood-thirsty, carefree serial killers. In the process, they would become renowned renegades of tabloid-based television where their inexplicable celebrity status is insidious but infectious to the approving masses. Soon, Mickey and Mallory would get their last laugh on media vultures such as the annoying and exploitative Wayne Gale (Robert Downey Jr.) — a spoofed Geraldo Rivera-type talking head — will soon learn of the Knoxes’ predictable wrath that he enjoyed covering as a ratings ploy for his selfish entertainment gains.

#3 “The People vs. Larry Flynt” (1996) featuring Larry Flynt and Althea Leasure

Famed pornographer and Hustler Magazine publisher Larry Flynt (the Oscar-nominated Woody Harrelson) and his drug-addled stripper girlfriend Althea Leasure (Courtney Love) were the scrutinized subjects of controversy and disdain involving their crusade for first amendment rights in the pursuit for free speech and expression regarding their distribution of smut-related material. Flynt violated decency laws in the eyes of his detractors while galpal Althea engaged in chronic substance abuse that would later claim her life. Incidentally, Larry Flynt nearly lost his life thanks to an angry assassin shooting him over his supposed entitlement to maintain his money-making means by promoting titillating adult entertainment.

#2 “Sid and Nancy” (1986) featuring Sid Vicious and Nancy Spungen

The troubled twosome of British punk rock, bassist Sid Vicious (Gary Oldman) from the dubious anarchy band The Sex Pistols and his girlfriend Nancy Spungen (Chloe Webb) were chronicled in director Alex Cox’s biting biopic “Sid and Nancy.” The real life tragedy of heroin-addicted Sid being fingered for the murder of the stabbed-to-death Nancy was both compelling and hideously mysterious at the same time. As a solo artist, Vicious found his down-spiraling drug habits escalating even more out of control in the aftermath of The Sex Pistols break-up. Both Sid and Nancy could be passionate in lusty excess, but their volatile existences were also eye-opening revelations as well. Cox’s frenzied and foggy-minded “Sid and Nancy” was brilliantly realized in nostalgic naughtiness as it carries out a hellish haze of rebellious artistry mixed with a toxic romanticism that reflected the rough-and-tumble movement of the 70’s English punk rock scene.

#1 “Super Fly” (1972) featuring Youngblood Priest and Georgia

Perhaps after the big screen success of “Shaft” that gave a considerable push to the blaxploitation genre, the second most popular urban black-themed film to fill the bill was the shifty “Super Fly” armed with an energetic and thought-provoking Curtis Mayfield soundtrack. Director Gordon Parks Jr. (whose father incidentally directed the aforementioned “Shaft”) featured cocaine drug pusher Priest (Ron O’Neal) looking to retire from selling junk on the streets for the Mafia. Basically, Priest wants to make one more big score before finally hanging up his hat as the seedy street provider for the junkie’s powdered candy fix. Priest had his share of women that he could bed down easily without complaint, but his main squeeze was the desirable Georgia (Sheila Frazier) that stood beside her man’s side despite his illegal “profession” of distributing smack to the weak-minded.

On the surface, “Kill or be Killed” follows Claude “Sweet Tooth” Barbee (co-writer and director Justin Meeks, “Butcher Boys”) and his gang of outlaws as they attempt to retrieve the spoils of a bungled train robbery, which one of them had “squirreled away” before becoming incarcerated for six months. The movie starts with a rescue sequence and ends with a twist. Between the two are a lot of money, a lot of bullets, and a lot of bodies, but unfortunately not much else.

That being said, the score by John Constant is absolutely wonderful, and sets the tone for the film as much as if not more than its beautiful, sweeping establishment shots. Some of the acting is great as well; in particular, aforementioned anti-hero Sweet Tooth, comic relief jailbird “Slap” Jack Davis (Paul McCarthy-Boyington, “The Human Race”), and rescued ventriloquist/salesman Willie Carson (Bridger Zadina, “Sins of Our Youth”) really carry the film.

Unfortunately, this is about where I run out of good things to say. Very early on, Kill or be Killed starts to become confusing. Shortly after that, it stops even being fun. It’s one thing to have a movie about antiheroes, to follow unlikely and lawless protagonists as they act out their crazy and charming schemes. It’s another thing entirely to watch sex crimes, convoluted religious imagery, and utterly nonsensical violence, growing less and less logical by the second, unfold for one hundred and four minutes on screen. When everyone is greedy, no one is fleshed out, and the stakes are never made clear, it’s difficult to find anything to care about enough to invest any amount of energy into what is going on.

In short, this movie does not know what it is. Its creators do not either; on the DVD commentary, Justin Meeks and his co-writer and director Duane Graves repeatedly assert their ignorance in regards to their own characters backstories, motivations, and goals. There are ways to blend genres together in novel and compelling combinations, and there are ways to throw a bunch of different plot elements at the wall and hope that some of them stick. It is abundantly clear that Kill or be Killed is an example of the latter.

While all in all an interesting watch for viewers just looking for something exciting and different, Kill or be Killed says nothing, explains nothing, and is about . . . essentially nothing. Its beautiful landscape, inclusion of well known character actors like Michael Berryman and Pepe Serna, and nearly perfect score (despite strange sound effects that jaggedly disrupt the mood) end up not enough to save it from its aimless writing, confusing crimes, and insistence on image over explanation. As the sheriff says to the remaining members of the gang toward the end of the the movie, it’s time to face the music boys. Following this film is ultimately far more trouble than it’s worth.

Like Jim Jarmusch’s 1995 revisionist Western, “Dead Man,” Slow West has the quality of a dream, poetic and beautiful, almost other-worldly, yet filled with an unmistakable sadness and a desperate loneliness, the flip side of the myth of the heroic pioneer: Brave, determined, and fiercely independent. Gorgeously shot in the beautiful vistas of New Zealand by cinematographer Robbie Ryan (“Philomena”), the film is set in Colorado Territory in 1870. In the words of archaeologist Katherine Routledge, “Everywhere is the wind of heaven; round and above all are boundless sea and sky, infinite space and a great silence.” When the film opens, as a dreamy-eyed young man points his gun at a kaleidoscope of stars in the distant sky, each star seems to light up.

Only sixteen, Jay Cavendish (Smit-McPhee), has traveled from Scotland in pursuit of an idealistic romance with Rose Ross (Caren Pistorius, “The Most Fun You Can Have Dying”) who is on the run with her father John (Rory McCann, “Clash of the Titans”) after a murder in Scotland. Though to Jay she is his true love, in flashback Rose calls him a “silly boy” and condescendingly tells him that her feelings for him are similar to ones she might have for a younger brother. Nonetheless, Jay is willing to endure unknown hardships to find Rose, unaware that there is a bounty of $2,000 on her head and that of her father, a hefty sum in those days. Struggling to survive in an unfamiliar land where violence is endemic, Jay runs into Silas Selleck (Fassbender), a former bounty hunter and member of the Payne gang who offers to help him find his sweetheart for a fee.

Silas is a hard-nosed Clint Eastwood “make my day” kind of guy and, while Jay recognizes that he is a cynical brute who believes he is beyond the law, the boy is need of guidance and unconcerned about aspects of his character or any hidden motive Silas may have. When the fur-coated Payne (Ben Mendelsohn, “Black Sea”) shows up with his gang of bounty hunters, however, Jay’s eyes are opened to the possibility of treachery, reinforced when he discovers that Silas and Payne are old acquaintances. There are other vignettes that mark their journey that underscore the perils of the frontier: An illuminating scene between Jay and Werner (Andrew Robertt), a writer from Germany who is documenting the “extinction of aboriginal peoples” throughout the world; a conversation in French with Congolese singers; and a spate of dead bodies when Swedish immigrants, desperate to feed their children, repeat the only English words they know, “blanket,” “sorry,” “money,” and “please,” with the result being two orphan children.

Both Fassbender and Smit-McPhee bring a great deal of authenticity and presence to their performances. As the two bond, their attitudes undergo subtle but unmistakable changes. Seeing Jay’s fearless determination, Silas becomes softer and more protective, pondering Jay’s advice that there is more to life than survival. The scene in which Silas teaches the young man how to shave by using a sharp knife tells a lot about their relationship. Jay also grows exponentially in maturity in the strange setting where life is cheap and a misstep can end in sudden death.

Author J. R. R. Tolkien (“Lord of the Rings”) said, “From the ashes a fire shall be woken, a light from the shadows shall spring; renewed shall be blade that was broken, the crownless again shall be king.” Like many traditional Westerns, Slow West ends in an explosive shootout that takes place around a little cabin abridging a wheat field, but the ending thwarts conventional expectations and lifts the film from the ordinary to the transcendent, suggesting that not only is there more to life than survival, but that the possibility of transformation is always present.

A Million Ways to Die in the West stars Seth MacFarlane, Charlize Theron, Liam Neeson, Amanda Seyfried, Sarah Silverman, Giovanni Ribisi and Neil Patrick Harris.

Official Synopsis:
After a cowardly sheep farmer (Seth MacFarlane) backs out of a gunfight, his fickle girlfriend (Amanda Seyfried) leaves him for another man. When a mysterious and beautiful woman (Charlize Theron) rides into town, she helps him find his courage and they begin to fall in love. But when her husband (Liam Neeson), a notorious outlaw, arrives seeking revenge, the farmer must put his newfound courage to the test.

A Million Ways to Die in the West gunfights into US theaters on May 30, 2014 and UK theaters on June 6, 2014.