“The Power of the Dog” is such a delicately constructed movie as to almost defy the ability to review it without saying too much.
Marking the first film in 12 years from the director , Campion has adapted a 1967 novel by Thomas Savage, set in Montana during the 1920s.
Life on the ranch takes its toll on Rose, but she’s understandably concerned when Peter returns from school and begins spending time with Phil, who has seemingly taken it upon himself to make a man out of the boy, while reminiscing about his own schooling from a cowboy known as Bronco Henry.
The cast is uniformly good, though Cumberbatch has the showiest role as the intense, brooding cowboy, who fears and resents change or any of the social niceties to which his brother aspires.
At its core “Power of the Dog” probes questions of masculinity filtered through the Marlboro Man images of the past, as well as how both vulnerability and reservoirs of strength can come from unexpected sources.