There are other areas where delivery falls short, such as the rest of the wardrobe. Everything looks like it just came out of the washing machine, including the clothes, shoes, and hats.Not only is it voyeuristic to observe folks ‘in the wild’ going about their day, but even the way in which the scenes and sequences have been set gives a very cinematic vibe to it. At times it does come across like a novel has been adapted for stage with theatrical complications and intricate dialogue transitions from ‘Rust’ becomes utterly peculiar, partly due to their indie aspiration or ‘Hollywood’ take, complete with ramming emotion-driven diatribes monologs.

The movie is replete with ‘standalone’ scenes that could qualify as short films. A notable appearance is made by Frances Fisher, who played Eastwood’s ex-madam in “Unforgiven” and portrays an offbeat character, a dashing stranger who calls herself Lucas’s aunt but comes across as utterly depraved. Xander Berkeley is nowhere near as placid himself, getting an equally memorable role where he portrays a ridiculous yet grand bully and breathes life into the character worthy of an Eastwood western.

Regrettably, none of the three storylines and their respective protagonists are constructed well enough to warrant their entire inclusion, save for the one focusing on Rust and Lucas, and even that one would benefit from the removal of a few near-fatal escape scenes. (The film has a runtime of two hours and eighteen minutes and feels longer.) McDermott is excellent as the poor, big-hearted Lucas, who, it seems, grew up far too fast. The weight of his burdens is palpable. You have no doubt he possesses enough life experience to talk like a tired old prairie rat who believes that existence is suffering. It still remains difficult to assess this film’s merits and shortcomings without the real world’s tragedy intruding. The scale of the damage shrinks the room for that sort of accounting.

Baldwin has been indifferent to the fact that Hutchins lost her life while under his care. There is no empathy, sorrow, or remorse in Baldwin, only his preoccupation of framing Hutchins’ death as something terrible to him, and is primarily unfortunate because it ruined his work schedule. Now imagine that callousness alongside the story of an accidental firing of a gun which features unceasing shooting and expressions of ensuring that guns are loaded. “I wish I’d never written that movie,” the director stated in an interview with The Guardian. The director goes on to explain how Baldwin's unscripted show with his wife Hilaria on the family's dealing with the shooting aftermath was spun off into a saga because he rationally “was busy hitting myself in the face with a frying pan.”

With the passage of time, I would like to think that people will see “Rust” as a piece of cinema and not as a crime scene. Having the gunshot echo slower like a countdown until people can observe the “crime” from the comfort of “safety,” will offer greater detachment for evaluation as a less unfinished product. The answer sadly sits far away.

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