The modern tendency to mix dialogue at a low volume and emphasize sound effects -- like gun shots -- reduces the level of craftsmanship in Blackthorn. You may hear the action but you never feel or care about it. Leaving gaps for us to fill along the way, the film settles into a leisurely rhythm. Boy does it take its time establishing an elaborate, yet confusing flashback structure in which Butch Cassidy alias James Blackthorn (Sam Shepard) goes about one last adventure. He’s almost reached his twilight years. However, the loss of his horse and life savings puts him in financial trouble. Forced to take on a partner, the deceptive Eduardo Apodaca (Eduardo Noriega), Blackthorn is promised money and more. Yet, there’s a twist to the tale which could upset the foundations of their new partnership.

Blackthorn tries hard to evoke the magic of Butch Cassidy and the Sundance Kid (1969), yet despite dabbling in similar mythologies, its fictitious tone undermines all credibility and makes the film less than convincing. At no stage of the plot do you believe that either Shepard or Nikolaj Coster-Waldau (who plays the young James) has lived the role off-screen. This is essential for any actor, as Dustin Hoffman’s methods have shown. Beyond the obvious preparations (such as remembering dialogue), Shepard shows up the weaknesses of Miguel Barros’ screenplay.

Director Mateo Gil seems so enamoured with style that the true life force of his film – the performances and story – takes a back seat to the wide angle, vista views captured by his cameraman, Juan Ruiz Anchia. I like my sunsets and backlight as much as the next man, but come on.

Also, trips down memory lane via flashbacks may shed light on a character’s backstory but they eat away the time as a downside. Some ill-timed cuts courtesy of David Gallart shift the focus away from the main narrative and eliminate any tension or suspense.

The whole point of Blackthorn seems lost on me. If anything, the uncoordinated filmmaking and storytelling indicate that the time for flashbacks is over.

(Released by Magnolia Pictures and rated "R" by MPAA.)