A Million Ways to Die in the West

A Million Ways to Die in the West's opening credits make it clear that nothing within is to be taken seriously.

They playfully ambush a stunning solar-powered sight, calling its dynamism into question, while mischievously reinforcing it at the same time.

Within this ambush lies MacFarlane's gambit, can his wise-cracking intertextual self-aware stir-crazy sense of humour be applied to a Western filmscape, in 1882, the setting wild and untamed, the middle-class, struggling to define itself?

It's a bold move. Apart from Blazing Saddles, Westerns generally lack this kind of exposure. In the spirit of the wild west MacFarlane explores new ground, faces up to the challenge, diversifies, drills, prospects, but the booty accumulated, unfortunately, fails to impress.

The blend's too sour.

That could be the point.

It's not that his chemistry with Anna (Charlize Theron) isn't soluble, or that I didn't love seeing intelligent book smarts talk their way out of multiple gunfights.

The jokes just aren't very sustainable.

Take the moustache song, brilliant idea, but it falls flat, like having nothing but the option of straight whiskey, there's contentment in the availability, but stomach pain in the habituation.

Doc Brown's (Christopher Lloyd) cameo distills what I mean, this device having worked for MacFarlane ad infinitum in his other works, but it just seems bland in A Million Ways's context.

But there is another Back to the Future reference, a bit a subtle foreshadowing, in the form of the old prospector, played by the loveable Matt Clark.

With his lil' dog Plugger.

The subtlety of this reference was more powerful, relating directly to the difficulties Albert's (Seth MacFarlane) having asserting himself in the desert, the Doc Brown reference functioning like the response he generally receives from his neighbours, within the film's meta-formalities.

Correct.

That's correct.