Steppenwolf Review: Action and comedy often blend seamlessly, with even intense violence sometimes taking on a humorous edge. This is a formula Quentin Tarantino masters, turning brutal moments into darkly comedic highlights. Similarly, the Coen Brothers’ films often blend humor with violence in ways that become memorable and engaging.
However, when this blend is poorly executed, and the violence is paired with misguided attempts at humor, it can lead to an uncomfortable viewing experience. This is precisely the issue with Adilkhan Yerzhanov’s Steppenwolf. Marketed as a cross between Tarantino’s flair and Andrei Tarkovsky’s depth, and described by the festival as a fusion of Hermann Hesse’s Steppenwolf with classic Westerns like The Searchers and Red River, the film falls short of its lofty comparisons.
Steppenwolf struggles with its own derivative nature, sacrificing narrative coherence and pacing in favor of forced macho action and clichéd comedy, which often feels like a teenage boy’s fantasy. The film’s repetitive and insensitive portrayal of its lone female character, who is both barely given a voice and subjected to cruel treatment, makes for a frustrating and outdated viewing experience.
In Steppenwolf, Tamara, a mute woman, embarks on a perilous mission to rescue her son from merciless organ traffickers amidst a civil war. Partnering with a seasoned ex-con known as “the Steppenwolf,” she navigates a chaotic and lawless environment, confronting numerous violent challenges along the way.
Steppenwolf (2024)
Release Date
January 31, 2024
Director
Adilkhan Yerzhanov
Cast
Berik Aitzhanov, Anna Starchenko, Azamat Nigmanov, Yerkin Gubashev, Nurbek Mukushev
Writers
Adilkhan Yerzhanov
Studio(s)
Golden Man Media, The Ministry of Culture and Sports of the Republic of Kazakhstan, State Center for the Support of National Cinema
Distributor(s)
Blue Finch Films Releasing
What Is ‘Steppenwolf’ About?
Set in a dystopian, timeless wasteland (where smartphones are absent but heart-shaped sunglasses are present), Brajyuk (Berik Aitzhanov) is a man with a troubled past, currently working as an enforcer in a prison. During a terrorist attack on the prison, he hides behind his colleagues’ bodies to save himself, casually smoking a cigarette while gunfire erupts around him. Despite his gruff exterior and similarities to a more rugged version of Billy Butcher from The Boys, Brajyuk’s survival intersects with Tamara (Anna Starchenko), a young woman searching for her son. Tamara’s near-catatonic state and whispered speech add to her enigmatic presence, contrasting sharply with Brajyuk’s loquacious nature.
Tamara offers Brajyuk $5,000 to help her find her son amidst the ongoing civil war. Their journey pits them against numerous hostile figures, including the shadowy Taha, who not only controls this dystopian world but is also linked to Tamara’s son’s abduction, tied to a child organ trafficking ring.
‘Steppenwolf’ Is Too Derivative For Its Own Good
Steppenwolf quickly reveals its influences from superior films, with its unpredictable and blunt violence echoing the Coen Brothers’ style. Brajyuk’s disregard for Tamara’s safety and the film’s attempts at humor can initially amuse but soon feel stale and problematic. The film’s pacing suffers as it prioritizes forced character investment over a coherent storyline.
Berik Aitzhanov’s portrayal of Brajyuk starts off engaging but quickly devolves into a caricature. Unlike Karl Urban’s charismatic Billy Butcher, Aitzhanov lacks the charm needed to make Brajyuk’s over-the-top monologues and antics compelling. In a particularly off-putting scene, Brajyuk’s repetitive grumbling sounds are more reminiscent of a Family Guy gag than a serious character moment, diminishing his impact.
‘Steppenwolf’ Is Problematic in Its Treatment of Its Lead Female Character
The film’s treatment of Tamara is perhaps its most glaring flaw. Presented as both a sex worker and a stereotypical 20th-century nun, Tamara’s characterization is inconsistent and demeaning. Her lack of agency and minimal dialogue, combined with Brajyuk’s abusive behavior towards her, is troubling. Scenes where Brajyuk’s attempts to “empower” Tamara through physical violence are particularly egregious, turning her into a literal punching bag. The film’s attempt to redeem her through a twist at the end feels hollow, as the damage done to her character throughout the film is irreparable.
Steppenwolf ultimately proves to be a frustrating experience, marred by its derivative nature and problematic portrayal of its female lead. Despite some strong directorial choices from Adilkhan Yerzhanov, the film’s attempt to merge dark comedy and action falls flat, leaving a bitter aftertaste as it fails to address deeper themes or offer genuine insight into its dystopian setting.