Dillahunt’s character is a man who’s stuck in his past, awkwardly watching the world move forward without him. He’s angry and awkward, with violent instincts, though perhaps not entirely to blame for his worst qualities. But what attracted Dillahunt was that he’s a man no one can quite figure out.
“I believe, inherently, the audience is intelligent. It’s like going to a museum: You look at a great painting, and some people like to come up close, some people stand far away, some people like it, some people are disturbed by it — it’s open to interpretation,” he says.
Last but not least, another positive review for the film:
Adapted by Redford from the Rachel Ingalls short story “Veterans”, the real marvel of the film is its ability to steadily increase the tension for pretty much the entire length of the film, offering only enough relief for a quick breath now and again before stoking the fires. It does so on the basis of exemplary discipline: a script that delicately balances competing yet legitimate viewpoints; meticulous acting that never tips its hand too far; gracefully effective shooting; and an edit that steadfastly refuses every gratuitous impulse. This is independent filmmaking that punches way above its weight, and it earns every ounce of its very considerable suspense. Though we know that the troubled drifter with the scarred head can only bring discord, Redford constructs the film’s exceptional tension with surgical precision. We cannot help but feel compassion for Sherman, but Redford’s ability to counterbalance this with the particulars of how and when things go wrong, and from Sherman’s very peculiar logic, is delightful. If you’re looking for a festival taste of splatter-spiced adrenaline, 13 Assassins offers a feast of samurai bloodletting that will soak your popcorn bright red, but for tender, juicy, slow-cooked adrenaline, Oliver Sherman is a high point of TIFF’s 2010 menu. [TwitchFilm]