I’d be in pretty bad shape – practically rotten into a mess. Ride with the Devil was directed by Ang Lee and adapted to screenplay by James Schamus (who also produced) from Daniel Woodrell’s novel "Woe to Live On." The cast includes Tobey Maguire, Skeet Ulrich, Jeffrey Wright, Jonathan Rhys-Meyers, Simon Baker, James Caviezel, and Jewel. Mychael Danna composed the music, and Frederick Elmes was in charge of cinematography. "On the Western Frontier of Missouri, the American Civil War wasn't fought by organized armies; it was a conflict among neighbors. Informal groups of local Southern Bushwhackers engaged in a brutal and desperate guerrilla war against the occupying Union Army and pro-Union Jayhawkers. Choosing sides carried significant danger. But being caught in between was even more perilous." Made for $38 million and intended as an epic summer blockbuster, Ride with the Devil proved to be a substantial financial disappointment. With a limited release both domestically and internationally, the poor box office results are not surprising. This outcome seems especially likely considering the film received virtually no promotion from its distributors. Add in some controversy surrounding the events depicted in the story, studio cuts (Lee didn’t have final cut), and a delay in home video releases due to the distributor's odd desire to remove Jeffrey Wright from the cover art! You might assume that such a film would be terrible. I disagree. Part coming-of-age drama, part reflective war movie, Ang Lee's film offers a grand cinematic experience. It explores a frequently overlooked aspect of the conflict along the Missouri/Kansas border, where Lee filmed on location, and manages to be both harsh and poetic in its approach. The brutality is evident in the fights – bloody, chaotic, and intense – while the poetry emerges from the human connections, internal struggles, and the political awareness of those fighting for their cause. These elements are handled skillfully by Schamus, whose screenplay features sharp dialogue that accurately portrays how this part of the war wasn’t solely driven by racist Southerners seeking revenge, violent gratification, or political loyalty, but often by concerns about family, land, and rights. The film emphasizes the youth of the main characters, highlighting how boys were quickly forced to become men and killing machines. A prime example is the violence culminating in the Lawrence Massacre, a tragic slaughter that claimed the lives of 180 people under the leadership of William Quantrill (John Ales). Lee and Schamus aren’t interested in portraying heroism in this war; they depict it as pointless, unpleasant, and ultimately sickening. From here, the film slows down considerably, as the main characters retreat from the fighting to experience personal awakenings and form friendships. This is where Lee truly shines. While not a particularly skilled action director – as evidenced by the Lawrence Massacre’s lack of visceral impact – Lee owes a debt to film fans for his ability to capture human interest moments and picturesque scenes with beautifully framed characters. Elmes' widescreen photography greatly enhances these aspects. Ulrich and pop star Jewel both do well in their roles, he bringing a confident swagger to Jack Bull Chiles, she portraying Sue Lee Shelley with tenderness and humility. Caviezel imbues Black John Ambrose with a brooding menace, while Jonathan Rhys-Meyers goes over the top as the sadistic Pitt Mackeson. However, Maguire and Wright deserve the most praise for their performances. Maguire is arguably at his best, giving Jake Roedel an effective sensitivity as a naive boy undergoes a violent introduction to manhood. Wright delivers what’s reportedly one of his favorite performances; as freed slave Daniel Holt, he serves as the film's emotional core, fighting not only out of loyalty to his friend George Clyde (Baker), but also to achieve personal catharsis. It’s a beautiful and restrained performance from Wright, deserving of more recognition. The final third might be too dialogue-heavy for some viewers, and a few unresolved plot threads prevent it from reaching masterpiece status. However, it comes close – it's a savage, beautiful, and poetic film. The studio executives clearly didn’t understand what they had: those fools. 9/10

Source on TMDB