Forget Yellowstone, Kevin Costner's Best Modern Western Performance Is In A 114-Minute Thriller

Published Oct 25, 2026, 8:00 AM EDT

Richard Craig is a Senior Author at Screen Rant covering film and TV. Richard has also written extensively about horror and film soundtracks, contributing a chapter to the first major academic collection on the folk horror genre, The Routledge Companion to Folk Horror. Richard is also a performing musician and holds an MA in Music and Sound Art.

Kevin Costner delivered his finest modern Western performance in a thriller that rivals Yellowstone and deserves far more attention than it gets. Kevin Costner has spent years proving he's one of Hollywood's definitive Western stars. While Yellowstone made him the face of a new generation of Western drama, a lean, 114-minute thriller gave him something even better.

Since premiering in 2018, Taylor Sheridan and John Linson's Yellowstone has followed John Dutton (Costner), the patriarch of a powerful Montana ranching family fighting to protect the largest contiguous cattle ranch in the United States. Its combination of spectacular scenery, brutal power struggles, and Costner's commanding central performance helped establish it as a major modern Western.

Few actors have a stronger connection to the genre. From Silverado (1985) and Dances With Wolves (1990) to Open Range (2003), Costner has repeatedly demonstrated an understanding of what makes a great Western hero. His characters are often men of few words, guided by an unwavering moral code, whose quiet authority becomes apparent when circumstances force them into action. That same appeal helped make Yellowstone a major television hit.

Yet even with all that room to explore John Dutton's world, the sprawling series can sometimes bury Costner's understated strengths. Give him a more intimate story, and his silences can speak louder than another showdown over a cattle ranch. That's precisely what makes Thomas Bezucha's Let Him Go (2020) such a terrific recommendation. This gripping thriller gives him a deeply personal conflict that proves he can still deliver a compelling Western performance without needing five seasons of drama.

Kevin Costner & Diane Lane Shine Together In Let Him Go

Based on Larry Watson's 2013 novel, Let Him Go follows retired sheriff George Blackledge (Costner) and his wife, Margaret (Diane Lane), who live on a Montana ranch in the early 1950s. After their son dies, their former daughter-in-law, Lorna (Kayli Carter), remarries Donnie Weboy (Will Brittain).

When Margaret discovers that Donnie has taken Lorna and her young grandson away from their home, she becomes determined to bring the boy back. George accompanies her to the Dakotas, where the Weboys' formidable matriarch, Blanche (Lesley Manville), has no intention of surrendering control of her family.

Let Him Go is a slow-burning Western that gradually develops into a genuinely frightening thriller. George and Margaret are grieving grandparents who discover that doing the right thing can mean confronting people far more dangerous than themselves.

Costner's performance in Let Him Go is particularly effective because he doesn't need to dominate every scene. George is a retired lawman whose instincts remain sharp, but he understands that violence has consequences. His measured delivery and weathered presence make him believable as a man who would rather avoid a fight but knows exactly what to do when diplomacy fails. When George finally acts, the contrast with his usual restraint gives the violence real weight.

Meanwhile, Diane Lane gives Margaret a fierce determination that prevents her from becoming a mere supporting character in her husband's story. She's the driving force behind their journey, and her commitment to protecting her grandson sometimes pushes her into uncomfortable moral territory. Their marriage feels lived-in, with years of affection and shared grief communicated through small exchanges rather than grand declarations.

Kevin Costner Should Still Make More Movies Like Let Him Go

There's a compelling argument that Costner is at his best when a Western gives him room to communicate through silence. Let Him Go understands that his screen presence doesn't depend on constant action or lengthy speeches. George's history as a sheriff is evident in his composure, his awareness of danger, and the way he assesses a situation before deciding whether to intervene.

The expansive landscapes of Montana and the Dakotas provide the traditional Western backdrop, while the mid-century period setting allows the story to explore a world in which rural communities can feel isolated from outside help. Michael Giacchino's score reinforces the melancholy atmosphere before the film's tension erupts into shocking violence.

For anyone who enjoys Yellowstone but misses the character-driven storytelling of Open Range, this is an easy recommendation. Let Him Go gives Costner a compelling role without requiring a sprawling saga, proving that he can still carry a Western thriller with quiet authority. More films like this would be very welcome.

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