If you ever find yourself not believing in the idea that White people of wanting talent can fail upward, watch Jonah Hex. Every one of the principals from the film worked again when, based on the film as evidence, maybe John Malkovich should’ve gotten another job. Sure, Josh Brolin isn’t terrible in the lead, but it’s not like he acts enough you’d think there’s something to him as a talent. Michael Fassbender and Megan Fox are just plain bad, though Fassbender’s failing at a part, Fox isn’t even acting a part enough to fail at it. Of course, she is sympathetic because Hex really likes victimizing Fox, the only woman in the cast with a speaking part.

At least, with multiple scenes and a speaking part.

The film runs an indeterminable seventy-five minutes (eighty with end credits); it feels closer to a couple hours just because it’s so boring in its badness. The only times Hex gins up any energy is when it’s being surprisingly bad in some way or another, like when Black man in 1876 Lance Reddick has to tell Brolin he knows he wasn’t racist when he was a Confederate soldier, he just didn’t like following orders.

Hex is a heritage not hate bunch of nonsense from 2010. It’s a very lazy film and could have just as easily not had the sexism, the racial optics, some ableism, and given everyone less work and based on everything else in the picture, they’d have embraced it, but screenwriters Mark Neveldine and Brian Taylor had some very definite places they wanted to go with the film. Ick places.

It’s a stunningly bad lead turn from Brolin. Yes, it’s clear director Hayward has no idea to direct actors—or even whether or not he should be directing them; I swear in a couple scenes it looks like Fox is glancing off screen for some kind of guidance. Or editors Kent Beyda, Daniel P. Hanley, Tom Lewis, and Fernando Villena just do bad work. Yes, all four of them for a seventy-five minute movie. Hex reuses at least three minutes of the same footage, bringing the “original” footage runtime down to 72, then throw in another couple for the opening animated sequence, which Brolin narrates and recaps what happens between the prologue and the present action, and you’re down to seventy.

And for a seventy minute “intense Western action” adaptation of a comic book… Jonah Hex is still surprisingly bad. Incompetent might be the best word, but no worries, both producers failed up.

The only reasonable performance is Malkovich, who gets through it without any exertion or ambition, but without any failings either. He’s perfectly fine as a Confederate general who fakes his death so he can come back and firebomb the U.S.A.’s first centennial celebration with a steampunk super weapon. Sadly it’s about the only steampunk thing in the film, outside some explosive crossbow guns Reddick makes for Brolin; steampunk might at least be interesting.

Hayward’s a terrible director. He’s not good at action, either with explosions, guns, horses, fists, knives, or whatever else. Jonah Hex makes you realize what truly bad ideas Hollywood producers have about what makes something good.

Maybe the only thing I’m grateful about with Hex—other than the runtime—is not recognizing Michael Shannon, who seems to have a cameo and I do remember seeing someone who looks a little like him but thinking it was Neal McDonough. Wes Bentley’s quite recognizable and quite bad. One has to wonder what Malkovich thinks of acting opposite people who can’t make bad material palatable.

Will Arnett and John Gallagher Jr. have small parts I hope they talked to their agents about recommending.

Jonah Hex is a crappy movie and not in any interesting ways.

Oh, and Aidan Quinn. Poor, poor Aidan Quinn. He too hopefully had a long talk with his agent.