Bookended by somewhat flawed first and third acts, Kevin Costner's Open Range has a strong second act that makes it quite worthwhile. This simple tale about morality and revenge could easily have been filmed in the early '50s with John Wayne in the Costner part and Walter Brennan in the Boss Spearman role, although one is hard pressed to think anyone could be better than Robert Duvall, who manages to find the right mix -- part real person, part mythic evocation of the West -- to give this film the weight Costner is aiming for much of the time. The first 30 minutes of the film -- when the men are alone with the expansive land -- attempts to bring the viewer into the languid pace associated with Westerns, but occasionally blurs the line between leisurely and dull. Once they make their way into town, however, the film has a confidence that should keep any viewer involved. Costner the director displays talent throughout the film, although it wavers in some instances. The climactic gunfight, a very long sequence full of action, frightening stillness, tension, and occasional humor is brilliantly handled. The audience can see where everybody is and why people shoot when and where they do. At the same time, however, there is a scary, disorganized feeling in the speed of the shooting and in the camera angles that gives the audience the same sense of fear that the combatants are experiencing. The violence is real and visceral without being exploitive. Sadly, the flat-footed resolution of the love story between Costner and Annette Bening ends the film with a whimper rather than a bang. There are three scenes between the couple -- which is certainly one and probably two too many. But that misstep in the final ten minutes does not take away from the achievement that is the meat of Open Range. Costner has made a good film by displaying his knowledge of Westerns and his appreciation for Robert Duvall.