Approaching the town, Abraham’s son, the aptly named Isaac (Emory Cohen) meets the Kingstons and ominously eyes them in the “we don’t take too kindly to strangers” way seen in far too many Westerns. David lies to avoid suspicion, and soon he is in the company of his quarry. Abraham has some kind of powerful hold over the town, in terms of law enforcement and spirituality. The townsfolk call him “The Preacher” and he presides over Sunday services where snakes replace those popsicle stick cardboard fans found at normal revivals.

Marisol falls quickly for his charms—too quickly, as the film fails to clarify just who the hell Abraham is. Is he a charlatan, or does he have the powers to make women sick as dogs before they inexplicably fall for him? Regardless, David's suspicions grow when Abraham randomly makes him the town's sheriff. Could this be a ploy to get David away from the house so Abraham can pitch literally vomit-inducing woo at his wife?

There’s a lot more nonsense here, all of which starts out intriguingly before overstaying its welcome. A friendly, constantly abused prostitute named Naomi (Felicity Price) offers to help David figure out where all those river bodies are coming from, if, that is, he’ll help her escape from this hellhole. You know what happens to her. As for the bodies, you know how they’re getting there, too. I don’t know if “The Duel” is some kind of symbolic immigration statement, but every Mexican in the film is either a traitor or a victim. Save one, that is, which is par for the minority character course.

Harrelson is supposed to be the villain here, but he’s more wishy-washy and weird than scary. This is a role for either an unhinged Nicolas Cage or an overzealous Christopher Walken, actors who would transcend the dullness on the page with their trademark quirks. The script has little respect and regard for Abraham’s evil, despite him dealing in all manner of murderous activities. In one hilarious scene late in the film, Abraham is treated like Wile E. Coyote while David portrays the Acme Company. By that moment, all the promise and goodwill of “The Duel”’s intelligent first half-hour has gone. It’s floating down the river with all those scalped dead bodies while the viewer impatiently waits for an unsatisfying deus ex machina of an ending.

ncG1vNJzZmivp6x7s7vGnqmempWnwW%2BvzqZmq52mnrK4v46tn55llKqyrXmRaWhv