A Tale of Two Westerns: Tombstone vs. Wyatt Earp

By David H. Waller

With the passing of Val Kilmer—who may have delivered the greatest Western character in movie history with his portrayal of Doc Holliday—I’ve found myself reflecting on two of the most iconic Westerns of the early 1990s: Tombstone and Wyatt Earp. It’s always struck me as unusual that these two movies, covering much of the same ground, were released just months apart.

One of them, Tombstone (1993), became an instant hit. Fast-paced and endlessly quotable, it earned its place in the hearts of Western fans everywhere. The other, Wyatt Earp (1994), had a quieter release and a much slower pace, but took a broader approach to the legendary lawman’s life. Both films tell the story of Wyatt Earp and Doc Holliday, yet they couldn’t feel more different in style and tone.

A big part of Tombstone’s popularity can be traced to Val Kilmer’s unforgettable portrayal of Doc Holliday. He delivered one of the most iconic performances in Western cinema—witty, deadly, and undeniably cool. Without him, the movie might’ve been another decent shoot-em-up western. With him, it became a iconic film.

Meanwhile, Wyatt Earp paints a more expansive portrait of the man behind the badge. The film opens in Wyatt’s youth during the Civil War, follows his rise as a lawman, and stretches all the way to his old age. It dives into his struggles, flaws, and motivations, offering a fuller picture of the man than any one shootout at the O.K. Corral could.

Both movies feature Fort Griffin, the place where Earp and Holliday met. Tombstone includes a brief scene at Fort Griffin, though the film never says it outright. The scene is when we first see Kilmer as Holliday in a saloon. Holliday then kills Ed Bailey and he and Big Nose Kate skip town, which happened at Fort Griffin. Wyatt Earp, however, calls it out by name and spends more time there, including the first meeting between Earp and Holliday. 

Of course, historical accuracy always takes a back seat in Hollywood. Timelines get compressed, and characters get dramatized. Both movies take liberties, as you’d expect. But they also both get a lot right—and deliver some unforgettable moments along the way.

Now, after all this reflection (and more than a few rewatches), I decided to settle the debate the best way I know how: with my own personal Oscars. This is actually something I have done in my head many times whenever I watch these two movies. I almost wish I could go back in time, recast it,  and make one movie with the right actors. 

My Western Oscars: 

Tombstone vs. Wyatt Earp

Best Score: James Newton Howard, Wyatt Earp

Howard’s sweeping score gives Wyatt Earp a depth and emotional weight that sets the tone for the entire film. Bruce Broughton’s work on Tombstone is solid and catchy, but it doesn’t reach the same emotional heights.

Best Morgan Earp: Bill Paxton, Tombstone

Paxton played Morgan with a warmth and likability that made his eventual fate hit even harder. He felt like the glue of the Earp brothers, and his performance stands out in a strong ensemble.

Best Virgil Earp: Sam Elliott, Tombstone

This one was the hardest for me. Michael Madsen gave a great performance in Wyatt Earp, but Elliott’s presence and voice brought gravity to the role. He may not have matched the real Virgil’s age, but he brought the strength and grit the character needed.

Best Josephine Marcus: Joanna Going, Wyatt Earp

Dana Delany’s version of Josephine in Tombstone never quite worked for me. In fact, it almost ruined the movie for me (Hopefully Delany is not a subscriber to The Albany News and never reads this harsh critique). Joanna Going, by contrast, brought a quiet strength and authenticity to the role that felt more grounded and believable.

Best Curly Bill Brocius: Powers Boothe, Tombstone

In Tombstone, Curly Bill is a central figure, and Boothe owns every scene he’s in—menacing, wild, and darkly charismatic. In Wyatt Earp, the character barely registers. Boothe’s performance added weight to the Cowboys and gave the film a layered antagonist who was both unpredictable and unforgettable.

Best Ike Clanton: Stephen Lang, Tombstone

Lang’s Clanton was a ball of chaos—angry, desperate, and completely unhinged. He stole nearly every scene he was in. His performance is still one of the most entertaining parts of the film.

Best Johnny Ringo: Michael Biehn, Tombstone

Biehn turned Ringo into a brooding, intelligent villain—a worthy adversary to Doc Holliday. In Wyatt Earp, Ringo is barely a side character, so this one’s an easy pick.

Best Mattie Blaylock: 

No award

Neither film got this right. The portrayals fell flat and didn’t add much to either movie.

Best John Behan: Mark Harmon, Wyatt Earp

While Jon Tenney brought more flash in Tombstone, Harmon’s performance felt more grounded and believable. He gave Behan quiet authority without overplaying the role—and that made it stick.

Best Doc Holliday: Val Kilmer, Tombstone

No contest. Kilmer’s performance is iconic. He brought humor and danger to the role. Dennis Quaid did well with a very different interpretation, but Kilmer set the gold standard.

Best Wyatt Earp: Kevin Costner, Wyatt Earp

Costner’s Earp was a complex, conflicted man shaped by hardship and responsibility. His performance gave the character emotional depth and long-term development that Tombstone didn’t explore. Kurt Russell gave a strong performance (including a phenomenal mustache), but Costner’s portrayal stuck with me.

Best Actor Overall: Val Kilmer, Tombstone

He wasn’t the lead, but he made the biggest impression. He’s the reason people still quote the movie 30 years later, and his portrayal of Doc Holliday set a standard no one has come close to matching in western movies. A truly unforgettable performance by a one-of-a-kind actor. Rest in peace, Val. Your legend lives on.

Best Picture: Wyatt Earp

Now that all the cards are on the table—I’ll say it. Wyatt Earp is the better film. I know that’s not the popular opinion, and believe me, I love Tombstone. I’ve watched it more times than I can count, and it’s one of the most entertaining Westerns ever made. But when it comes down to which film has more staying power, more depth, and a stronger emotional arc, Wyatt Earp takes the win for me. 

If I had to choose just one to sit down and watch from start to finish, it’s Wyatt Earp every time. It’s slower, yes—but it’s thoughtful. It’s more than a gunfight at the O.K. Corral; it’s a full portrait of a man shaped by hardship, loss, and an evolving sense of justice. It doesn’t race to the action—it builds a world, a character, and a life.

To me, it feels like a true Western—not just in setting and style, but in spirit. The kind of film that honors the genre by giving its characters room to breathe, and its story room to matter.

And if that stirs up a little debate, well…

I’m your huckleberry.