It’s hard to think of another movie that has experienced such a dramatic shift in how it's viewed as HEAVEN'S GATE (1980) did after its initial rejection and disappointing performance. Almost forty years later, considering the harsh criticism directed at both the film itself and the perceived arrogance of its director, along with the extravagant nature of the production, what does Michael Cimino’s work ultimately offer to viewers? Like many films that spark strong reactions, the reality probably lies somewhere in between extremes. Clocking in at 219 minutes, there are definitely some weaker parts; regrettably, the romantic storyline central to the film is a significant portion of it. I have to be direct: the romance feels dull. The movie fares much better when it concentrates on the conflict between the ranchers and the immigrants. Even before that point, the opening thirty minutes or so are not just engaging, they’re exceptionally well-written and acted. I often find myself looking for Sam Waterston, John Hurt, Christopher Walken, Kris Kristofferson (when he's not involved in the romantic scenes), and Jeff Bridges, and generally wanting other aspects to move on quickly—like nearly ten minutes dedicated to roller skating, for example. Transamerica’s hasty and shortsighted withdrawal of support from United Artists initially saddled this film with a reputation it didn't truly earn. Compared to contemporary films, there’s something thrilling about the willingness to take enormous risks that Cimino (and other filmmakers) embraced during the vibrant 1970s. It’s worth watching at least once; not just because of its expansive and ambitious style, but also for a glimpse into the close of an era of creative freedom in Hollywood that is unlikely to return.

Source on TMDB