Here's part of a translated review:
"In 1989, Indian author and director Vidhu Vinod Chopra created the bloody crime and family drama Parinda (IND 1989) on the streets of Bombay, which greatly influenced the Indian film industry. It was the first work that, with its social criticism, its brutality and its authentic role characters, shook the "Bollywood" brand, which was characterized by clichéd romanticism and comedy. Not least the Indian neo noir of the last 10 years owes itself to such an initial spark. Almost 26 years later, Vidhu Vinod Chopra made his first film in Hollywood with Broken Horses, which is not exactly a remake of Parinda, but whose storyline takes over to a large extent and the story of the two unequal brothers who weld together a tragic event of their youth relocated the US border region near Mexico. With his carefully selected performers and Clint Eastwood's cinematographer Tom Stern (Gran Torino, USA 2008), the experienced Vidhu Vinod Chopra does not leave anything to be desired. The first 10 minutes are dramaturgically strong, captivating the audience, the expectation is increasing. Then the jump follows into the present, the pace is throttled, which would not be bad, but after 20 minutes at least I hardly convince. The brothers Jacob and Buddy Heckum have not seen each other for just eight years, but pretend that a quarter of a century has passed. Vincent D'Onofrio is a great actor, his villain Julius Hench is a "bad man" like a movie from the 1930s. Neither Buddys bloodshed nor the background of the rivalry Hench and Mario Vargas Garza (Jordi Caballero) finds an explanation in a region that seems completely unpopulated except for Henchs gangsters and a few police officers.
"Anton Yelchin gets saddled with playing every scene on an unavering plateau of concern," writes Nicholas Bell for IOnCinema, and hits another neurotic point. Above all, the behavior and the development of Jacob Heckum in the portrayal of the tragically tragic 2016 Anton Yelchin reflects the lack of a basis for the relationship between the brothers, who seem not only dissimilar but basically unconnected. The more the performer struggles to word and gesture their unconditional existence for one another, ending in misunderstandings that emphasize their diversity, the clearer to the viewer is how cramped and ridiculous such efforts are. Especially Jacob finds no pitch that would make him credible as a brother. His behavior is perfectly contradictory, both to Buddy and his fiancé Vittoria (María Valverde), whose chemistry comes close to zero after their reunion. Jacob proves neither a passionate musician nor a lover or a killer a trace of authenticity. He seems so much a stranger in his life as Yelchin a foreign body in that role. Even Chris Marquette moves on the borderline between committed and grotesque, so that only D'Onofrio with his Robert Ryan attitude holds the swaying ship on course. Cracked by many US film journalists, Broken Horses is sometimes not without charm, but in the end little more than a bizarre marginal note, a hybrid of Western Noir and Neo Noir, which does not begin to do what its recipe promises."