Ever since Jaws and Star Wars, studios realized they could make blockbusters out of what used to be considered B-movies, and ever since Pulp Fiction, indie films have made the same calculus. At this date and time, aside from the Oscar standard bearers, a good chunk of mainstream films are B-genre movies, whether they are sex comedies, superhero movies, or psychological thrillers. Because viewers generally watch indie film looking for more character development, they are a little—or sometimes a lot less—forgiving toward muddy storytelling, while the B-movie elements usually don’t overwhelm the narrative.

For the most part, Let Him Go, a B-movie with a couple of A-list stars, walks the line confidently, never becoming overly arty or pulpy but absolutely containing elements of both.

Kevin Costner and Diane Lane are George and Margaret Blackledge, ranchers in 1960s Montana. They are strong, solid, and in George’s case, the mostly silent type. After their adult son dies in a horse riding accident, daughter-in-law Lorna (Kayli Carter) marries Donnie Weboy (Will Brittain) a few years later. The Blackledges have misgivings about this union, which you can tell just by how they look at the guy, though they never say anything. Donnie and Lorna move across town, along with the Blackledges’ grandson, Jimmy. When Margaret witnesses Donnie hitting Lorna and her beloved Jimmy, she becomes rightfully concerned, and when she later visits their apartment, she discovers the family has packed up and left without forwarding an address.

The rest of the film consists of George and Margaret road tripping to North Dakota to bring back Jimmy. There they meet the Weboy clan, who, as one would figure, are very, very bad news. Presided over by matriarch Blanche Weboy (Lesley Manville), the brood pretty much runs the town. This is where the film moves from elegiac stoicism and a touch of arty pretension into Tracy Letts-by-way-of-Quentin-Tarantino territory, as the couple try to reclaim their grandchild. If the film descends into pulpiness, it’s clearly laid out. Of course, some people would not consider pulp a descent at all.

The themes of Let Him Go become apparent in the second half. Up to this point, we are focused on the Blackledges, who are portrayed as flawed, decent people who know and accept each other’s weaknesses. Conflicts are generally resolved with respect. This changes when the Weboys hit the scene. In a showdown between flinty and firm but loving Martha Blackledge and sarcastic, suffocating and, we soon find out, sociopathic Blanche Weboy, we have a study of matriarchs and family ties. Both want possession of young Jimmy, but for different reasons: one to nurture, the other to control. 

The men play second fiddle. They essentially do the matriarch’s bidding. Within the Blackledge’s marriage, it’s a matter of love and respect. With the Weboys, the motivation is fear. Blanche has a twisted sense of loyalty. In a bravura monologue, she explains the trials and tribulations that led the Weboys to settle and stay where they are and the expectation that no one is to leave. To her, that’s the meaning of family. So, the idea of Martha taking little Jimmy, or even really seeing him, is a non-starter. He’s a Weboy now, and he will lean the Weboy way.

All of this is slowly and finely drawn with dollops of low, ominous music and a steady, sure pace. Let Him Go takes its time, drawing out the Blackledges’ relationship for a solid hour before it brings down the hammer. Director/writer Thomas Bezucha expertly and deftly teases out the tension, so we are primed for the inevitable bloody climax. He weaves the themes with intelligence and class while acknowledging and embracing the movie’s pulpy roots.

Lane delivers a fierce, powerful performance, deftly balancing a mixture of love, resolve, and resistance to create a nuanced portrayal of someone who is not finished grieving the loss of her one son. It’s absolutely awards worthy and worth seeing the film for. Costner underplays his part beautifully. That his star power is not overshadowed by Lane’s performance is a testament to his talent and charisma.

All in all, Let Him Go is a tight, tense film that will satisfy genre enthusiasts and casual filmgoers alike.