The Isolate Thief, 2026.
Directed by John Suits.
Starring Mackenzie Foy, Odeya Rush, Joe Pantoliano, Sean Bean, Jack Kesy, Ty Simpkins, Bryan Martin, and Martin Sensmeier.
SYNOPSIS:
A young woman struggles to conceal the gold she stole from violent outlaws who have seized control of her remote outpost, outwitting them amid a deadly winter where survival becomes a game of cunning and betrayal.
Set at a Union outpost in frigid temperatures, John Suits’ The Isolate Thief transcends what was likely a small budget with a fittingly chilly, oppressive look, and an ensemble that sneaks up on you as not only packed but smartly cast. Front and center is Mackenzie Foy shedding her Twilight and Disney-oriented roots for gritty period-piece work that she handles capably and convincingly, whether it be fending off wolves at the outpost, bandaging a wound, playing a deceitful game for survival, or wielding a firearm.
That’s only the start, though, as Joe Pantoliano shows up as a harmless graverobber only to re-enter the picture as the hostage of a group of Union soldiers led by Sean Bean on a search for gold thought to be discovered by him, which in reality has been hidden away by Mackenzie Foy’s parentless (her father recently died in the war, meaning she is all alone at the outpost), grieving, underestimated caretaker waiting for the right moment to make a break with the gold for San Francisco. The merciless candor with which the Union soldiers are comfortable torturing the drifting graverobber should also be enough to signal that something is off about the group and that our hero probably shouldn’t trust them.
Without giving too much away, Ada (Mackenzie Foy) is up against a violent group of outlaws posing as Union soldiers under orders from Sean Bean’s Fiddler, who will stop at nothing for this gold (accompanied by fellow evildoers played by a range of underappreciated names such as Ty Simpkins and Jack Kesy). In the forest, she also stumbles across a badly injured Emily (Odeya Rush), who has a connection to these outlaws, reduced to being treated as a sex object (they refer to her as an unflattering term for a prostitute, which feels inaccurate given that such a term would imply she has a choice rather than having her agency regularly taken as it is here), so broken by her experiences with them that she advises Ada to give in to their demands as defying them typically results more horrifying outcomes.
Even if the screenplay from Kevin Lefler doesn’t necessarily crackle the way a pressure-cooker story like this should (there’s a lot of The Hateful Eight in the film’s DNA, but without anywhere near that level of character and thematic complexity), the cast elevates the material and provides a quiet intensity simmering underneath the casual conversations and deceptions that we know will eventually blow up in Ada’s face. It’s also a story that isn’t afraid to go to some fairly bleak places and put these women through the wringer as they fight back and try to make it out alive.
What it boils down to is a simplistic cautionary tale of ruthless, misogynistic outlaws underestimating the women they are up against. That is also desperately felt when the women turn the tables in the third act. Effectively accomplishing what it sets out to do. A freezing locale is used for atmospheric advantage (the ground is frozen solid, meaning graves can’t be dug, to give an idea of just how cold it is) while allowing Mackenzie Foy to tap into some new acting tools demonstrating resourcefulness, alongside Sean Bean believably going from calm to terrifying on a dime. The Isolate Thief is a feminist period-piece Western that organically empowers through familiar, albeit competent and engaging, storytelling, culminating in some tense battle-of-the-sexes action.
Flickering Myth Rating– Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder
