Month: July 2023

“Yoicks!” —Tom Moore

Today’s quick review: Man of the East. Thomas Moore (Terence Hill), a refined English gentleman, travels to California to meet Bull Schmidt (Gregory Walcott), Holy Joe (Harry Carey), and Monkey Smith (Dominic Barto), his dead father’s closest friends. The trio of outlaws try their best to toughen Tom up and make him a man. Their training is put to the test when Tom crosses Morton Clayton (Riccardo Pizzuti), a local thug with a violent temper.

Man of the East is a Western comedy about a polite young man adapting to life in the West. To win the hand of Candida Olsen (Yanti Somer), Tom must put down his books, pick up a gun, and prove his worth. Man of the East is a light comedy that thrives on the contrast between Tom’s mild habits and the rough living of his would-be mentors. The movie manages to strike a nice balance with its tone and characters, but its story and humor hold it back.

Man of the East’s hidden strength is that it isn’t mean-spirited. The movie pokes fun at Tom’s gentleness and the gang’s coarseness in equal measure, and their friendship is never in doubt. Tom lacks the skills to make a name for himself in the West, but he is an apt learner. Meanwhile, the trio is rough but fair, living outside the law but never crossing over into villainy. As a result, the cast is very easy for the audience to spend time with.

Still, Man of the East doesn’t have the same impact as other Westerns. The plot is light almost to the point of non-existence, with low stakes and no real wrinkles. The humor is pleasant enough to carry the movie, but it isn’t as insightful or imaginative as other comedies. Finally, the cast suit their roles well but never do much with them. Man of the East is enjoyable but not exceptional, never going farther with the tools at its disposal.

Man of the East is a fine pick for viewers in the mood for something lighter. The movie delivers on its premise, tells a pleasant story, and avoids any major missteps. But viewers hoping for sharper comedy or a more elaborate plot may want to look elsewhere.

For a more robust Western comedy starring Terence Hill, try My Name Is Nobody. For a classic romantic comedy about a reluctant fighter, try The Quiet Man. For a slapstick comedy about a sheltered young man trying to adopt a more rugged lifestyle, try Steamboat Bill, Jr. For a movie with criminals of a similar stripe, try Thunderbolt and Lightfoot or Disorganized Crime.

[6.7 out of 10 on IMDB](https://www.imdb.com/title/tt0068524/). I give it a 6.5 for a light story without much substance.

“The secret of a long life is to try not to shorten it.” —Nobody

Today’s quick review: My Name Is Nobody. After a long career, legendary gunfighter Jack Beauregard (Henry Fonda) wants nothing more than to sail to Europe and retire. But his plans are sidetracked when he meets Nobody (Terence Hill), a young man who has idolized Jack all his life. Nobody explains that he wants to make sure Jack goes down in the history books for one last feat: taking on the 150-strong band of outlaws known as the Wild Bunch.

My Name Is Nobody is a Western comedy about the peculiar relationship between an old-school gunslinger and his biggest fan. As far as Jack Beauregard is concerned, the story is simple. Dodging outlaws and assassins, Jack hunts down his old partners to collect the money he needs to retire. But Nobody throws a wrench in his plans, setting Jack up to have one last, legendary battle with the Wild Bunch—whether Jack wants to or not.

My Name Is Nobody dances between a classic Western in the Italian mold and a playful comedy. The serious side of the plot functions exactly the way it should: tense gunfights, inventive sources of danger, and a robust soundtrack by Ennio Morricone. Henry Fonda fills out the role of Jack Beauregard perfectly, a seasoned fighter with a quick draw and a calm demeanor. If not equal to the greatest cowboy heroes, Jack is at least cut from the same cloth.

But the movie’s comedic side is where My Name Is Nobody distinguishes itself. Terence Hill delivers a quirky, captivating performance as Nobody, a young man who moves through the world in strange ways. His relationship with Jack is almost unique: a fan who wants to see his idol accomplish his greatest feat, even if it kills him. The interplay between the two gives the movie its character, while Nobody’s antics help keep the tone light.

My Name Is Nobody is not in the same caliber as the very best of the Western genre, but it puts its own spin on the genre’s conventions while maintaining a high degree of craftsmanship. As such, My Name Is Nobody will hold appeal for most fans of the genre, exploring new ideas through Nobody’s character while keeping enough of a conventional story to feel worthwhile. For a more serious Western in the same vein, try Once Upon a Time in the West.

[7.5 out of 10 on IMDB](https://www.imdb.com/title/tt0070215/). I give it a 7.0 to 7.5 for a memorable premise, satisfying craftsmanship, and a pair of strong performances.

“The world is what you make of it, friend. If it doesn’t fit, make alterations.” —Stella

Today’s quick review: Silverado. On his way to the town of Silverado, Emmett (Scott Glenn) rescues Paden (Kevin Kline), an unlucky drifter robbed and left to die in the desert. Stopping to save Emmett’s brother Jake (Kevin Costner) from an unjust hanging, they join up with Mal (Danny Glover), a crack shot heading to Silverado to see his family. But the four men run into trouble when they cross Cobb (Brian Dennehy), Silverado’s corrupt sheriff.

Silverado is a Western adventure about four good men on a journey to the titular town. Brought together by chance, Emmett, Paden, Jake, and Mal find common cause as they face down bandits and thugs in pursuit of justice. Silverado features a varied cast of likable characters, a rich plot that plays out organically, and a healthy balance of drama and optimism. The result is a satisfying Western with something to offer any fan of the genre.

Silverado has a tapestry of plot threads that are woven together by the friendship between its four leads. Each of the men is heading to Silverado for his own reasons, but they stand united when danger strikes. Silverado does a skillful job of establishing their characters and giving them room to act. The core appeal of the movie is seeing how Emmett, Paden, Jake, and Mal help each other deal with the injustices committed around them.

Silverado has a messier structure than other movies. In addition to the plot threads introduced by the movie’s leads, there are other threads for its expansive supporting cast, which includes a peacekeeping sheriff (John Cleese), an honest saloon manager (Linda Hunt), a slick gambler (Jeff Goldblum), and a vengeful rancher (Ray Barker). The story is not tidy and can be troublesome to track, but its interactions are satisfying and lead to good payoffs.

Silverado is a fine pick for anoyne in the mood for a story that has clear heroes and villains but avoids a formulaic structure. Silverado does not turn the genre on its head, but it goes far on the back of a talented ensemble cast and a kaleidoscope of interesting conflicts. Skip it if you are looking for a pure comedy, a heavier drama, or a more rigidly structured story.

For a Western with a similar tone and many of the same virtues, try Tombstone. For a Western adventure that skews even lighter, try Maverick. For a Western parody with raunchier humor, try Blazin’ Saddles. For a less successful take on a similar premise, try Big Kill.

[7.2 out of 10 on IMDB](https://www.imdb.com/title/tt0090022/). I give it a 7.0 to 7.5 for likable characters and a fulfilling adventure.

Today’s quick review: Maverick. Bret Maverick (Mel Gibson), a quick-witted gambler, needs just $3,000 more to pay the entry fee of a poker tournament that has a pot of half a million dollars. While trying to win the money in a card game, Bret accidentally antagonizes Angel (Alfred Molina), a dangerous man. Meanwhile, Bret meets two new traveling companions: Marshal Zane Cooper (James Garner) and Annabelle Bransford (Jodie Foster), a charming thief.

Maverick is a Western comedy directed by Richard Donner and based on the classic television series. Mel Gibson stars as Bret Maverick, an amiable poker player with a fast hand, a sharp eye, and a knack for getting into trouble. Maverick is an upbeat adventure about the mishaps that await Bret on the way to the tournament that could make his fortune. Likable characters, light comedy, and a fair amount of action make the movie an enjoyable experience.

The greatest strength of Maverick is its cast. Mel Gibson, Jodie Foster, and James Garner play off each other wonderfully, and their banter keeps the movie entertaining from start to finish. Maverick also features a creative plot that puts its own spin on the Western genre. Familiar ingredients find new uses in a story that never drags or feels dull. Finally, Maverick finds natural ways to work in action scenes that keep the movie exciting.

Maverick is a well-rounded movie with broad appeal. Its talented cast and ebullient humor make it an easy watch, while its story has enough substance to feel worthwhile. Not everyone will like what the movie has to offer, and the movie is not groundbreaking, but any fans of Mel Gibson or the lighter side of the Westren genre would do well to give it a try.

For an action comedy with the same lead actor and director, try Lethal Weapon. For a romantic adventure with similar appeal, try Romancing the Stone. For a Western with a similar sense of adventure, try Tombstone or Silverado. For a Western action comedy with more over-the-top action, try The Lone Ranger.

[7.1 out of 10 on IMDB](https://www.imdb.com/title/tt0110478/). I give it a 7.0 for unabashed fun.

Today’s quick review: Rustlers’ Rhapsody. For Rex O’Herlihan (Tom Berenger), the hero of dozens of 1940s Westerns, the frontier town of Oakwood Estates holds no surprises. He knows what its people are like before he’s even met them, and he knows what he has to do to free it from the clutches of Colonel Ticonderoga (Andy Griffith), the local cattle baron. The only wrinkle is Peter (G.W. Bailey), the town drunk, who appoints himself as Rex’s sidekick.

Rustlers’ Rhapsody is a Western comedy that takes shots at the conventions of the genre. Rex O’Herlihan is a heroic cowboy in the classic mold, from his strict moral code to his flashy outfit and white hat. But after fifty nigh-identical adventures, he’s beginning to notice a pattern. Armed with his six-shooters and a growing awareness of the genre he’s in, Rex sets out with his new sidekick to free the latest town from the latest villain.

Rustlers’ Rhapsody spins this premise into an enjoyable parody. The movie has a lighter touch than other comedies. There are plenty of over jokes, but less of a reliance on slapstick and sight gags. Instead, Rustlers’ Rhapsody goes through the steps of a classic Western while poking fun at them along the way. Tom Berenger, G.W. Bailey, and Andy Griffith all have good moments, and the movie’s deadpan helps most of its jokes hit home.

The one major failing of Rustlers’ Rhapsody is that it is not as sharp as other comedies. It knows how to deliver a joke but not how to follow up on one. Right when the audience is ready for one more joke or one extra twist, the movie backs off. As such, the humor has a string of modest successes but never builds up momentum. Still, there is an advantage to this: In spite of its meta elements, Rustlers’ Rhapsody still works as a Western.

Not everyone will appreciate what Rustlers’ Rhapsody has to offer. Its humor is ridiculous in concept but somewhat understated in its delivery. Its plot requires appreciating the Western genre but not taking it too seriously. And while it earns a fair number of laughs, it does so more as a parody than as a comedy that can stand on its own. But within these constraints, Rustlers’ Rhapsody is a clever movie with plenty to offer the right viewer.

For a more raucous Western parody, try Blazing Saddles. For an animated Western comedy with meta elements, try Rango. For a more straightforward Western adventure, try Silverado. For an even more outrageous spoof with a similar style of humor, try Top Secret!, Johnny Dangerously, or The Cheap Detective. For a comedy that does something similar with the action genre, try Last Action Hero.

[6.6 out of 10 on IMDB](https://www.imdb.com/title/tt0089945/). I give it a 6.5 to 7.0 for charming comedy with a few missed opportunities.

“I will blow that ugly right off your face!” —Rango

Today’s quick review: Rango. The life of a pampered pet chameleon (Johnny Depp) takes an abrupt turn when he falls out of the family car, leaving him stranded in the Mojave Desert. Traveling to the parched town of Dirt, he reinvents himself as Rango and impresses the locals with tales of his prowess as a gunslinger. But when the town’s water runs dry, the townsfolk turn to Rango for help, forcing him to become the hero he’s pretending to be.

Rango is an animated family Western comedy starring Johnny Depp. Rango is set in a Wild West inhabited by anthropomorphic desert creatures, where water is the only currency, townsfolk like Beans (Isla Fisher) struggle to hang onto their land, and bandits like Rattlesnake Jake (Bill Nighy) terrorize the populace. Into this dire situation walks an unlikely hero to set things straight.

Rango has plenty to offer in terms of story, character, setting, humor, and action. The plot is an inventive mystery about Dirt’s missing water, which works nicely with the film’s setting and holds back just enough to keep the audience guessing. The jokes cover a lot of ground, ranging from Western references to innuendo to straightforward family humor. The movie is topped off with chaotic action that takes full advantage of the animated medium.

The main drawback of Rango is that it has an odd flavor to it. The characters and setting are scraggly, with none of the cuteness typically associated with family films. The sense of humor is often mature and sometimes macabre. The dialogue is wordy and rapid, with jokes tripping over one another before they can be fully processed. The script also has a meta streak that will intrigue some viewers and put off others.

The end result is a unique movie that will suit some viewrs more than others. Those willing to either look past Rango’s offbeat style or embrace it will find that the movie successfully combines old ideas with new ones, putting its own comedic spin on the Western genre. Viewers expecting a more straightforward, superficially charming movie may want to approach Rango with caution.

For a Western action adventure with the same lead and director, try The Lone Ranger. For an animated family adventure with a similar story setup, try Flushed Away, Bolt, or Monsters, Inc. For another animated comedy with mature humor and a sizable upside for the right audience, try Megamind.

[7.2 out of 10 on IMDB](https://www.imdb.com/title/tt1192628/). I give it a 7.0 to 7.5 for clever humor, a satisfying story, and a rough but fully realized world; your score will vary.

“Anne, you’re going to die.” —Kate

Today’s quick review: Survivor. For 37 years after the destruction of Earth, the inhabitants of the starship Columbus 7 have searched the galaxy for another planet to call home. When a transmission from a wormhole reveals the location of a habitable planet, Captain Hunter (Kevin Sorbo) takes a scout ship to investigate. But when the ship crashes on the planet, it falls to Kate Mitra (Danielle C. Ryan), Hunter’s top student, to salvage the mission.

Survivor is a budget sci-fi action adventure about a human expedition to an alien world. Danielle C. Ryan stars as Kate, a young woman who has trained her entire life for the possibility of landfall. The movie features a reliable sci-fi premise that does a good job of stretching a limited special effects budget. However, between its low production values, generic story, and weak drama, Survivor does not make for a very effective movie.

The issues that hurt Survivor the most have to do with its story and setting. The premise of the story is serviceable, a tale of overcoming adverse conditions to survive on a desolate world. But the details that would normally flesh out the movie are sparse. There’s very little to distinguish the Columbus 7 from any other starship, and the planet they land on does not have any worthwhile mysteries to explore.

The story is similarly shallow. The plot hits the expected beats with only minor variations. The action consists of traversing the rocky terrain near the crash site, fighting in close quarters with the humanoid natives, and having Kate gather up the scattered members of the crew. Survivor does not have a good sense of drama. Kate’s victories come too easily, and the story bends to make her the hero without the subtlety of other movies.

Still, for all of its faults, Survivor has its heart in the right place. The tone strikes a good balance between peril and escapism. The fights are not especially exciting, but they have energy to them. And from the way Survivor embraces its premise and its main characters, it is clear that it is trying to tell the best story it can rather than simply going through the motions. Even if Survivor is not a successful effort, it is an honest one.

Ultimately, there is not much reason to pick Survivor over other science fiction movies. Nothing sets its world apart from other sci-fi settings, and neither its plot nor its action is enough to carry the movie. Fans of the budget side of the genre may get something out of its spirit and its handful of minor quirks, and it manages to be an innocuous enough watch. But it is badly outclassed by its peers, and most viewers should steer clear.

For a more heartfelt science fiction movie with a similar premise, try After Earth. For a darker budget sci-fi movie about a survivor on an alien world, try Dune Drifter. For a sci-fi story of survival with a much richer setting, try Prospect.

[4.0 out of 10 on IMDB](https://www.imdb.com/title/tt3297792/). I give it a 3.5 for an eager spirit with none of the technical skill needed to back it up.

“We’re going in cold here. Tracking unknown targets into an unknown military facility that’s been abandoned for reasons unknown.” —Sergeant Davies

Today’s quick review: The Facility. When Grace (Harriet Madeley) and her friends (Kevin Leslie, Marcus Bronzy, Sophie Miller-Sheen, and Clarice Burton) go exploring in an abandoned military facility, a private military contractor sends in Sergeant Davies (Michael Fatogun) and his team to extract them. But as both groups journey deeper into the facility, they are faced with the remnants of the horrific experiments that went on there.

The Facility is a budget horror movie set in an underground complex that contains unspeakable evil. A group of civilians and a team of soldiers face twisted creatures, psychic visions, and mortal peril as they lose themselves in the maze of the facility. The Facility has a viable premise for a horror movie and makes good on it in places. However, its limited toolkit and underwhelming story keep it from being a satisfying watch.

The main problem with The Facility is that it is shallow. The dark, cramped environment with its derelict furniture and signs of human experimentation carries the movie through its opening stages, but it wears out its welcome long before the finale. There are only so many scares the movie can squeeze out of its setting before they become predictable, and The Facility never evolves past its routine of shadowy corridors and flesh-eating creatures.

The story is disappointing as well. The movie hints at a series of experiments in the mid-20th century that were designed to contact something vaguely demonic. But in spite of its best efforts, The Facility never manages to make this idea work. The early hints are too vague to serve as an effective hook, while the strongest ideas, such as Grace’s growing sense of deja vu, run aground on weak acting, blunt exposition, and a poor sense of drama.

The result is a movie that does not have much to offer. The early stages of The Facility are passable for a budget horror movie, using the environment and a few mysteries to create a sense of apprehension. But once the movie settles into a pattern, it loses almost all of its interest, while its best threads amount to nothing in the end. Horror fans may get something out of The Facility for academic purposes, but all others should steer clear.

For a budget sci-fi horror movie with a similar premise and similar flaws, try Armed Response or Doom: Annihilation. For an action horror movie with more style that’s also set in an underground facility, try Resident Evil. For a horror comedy that toy with similar ideas, try Cabin in the Wood.

[3.3 out of 10 on IMDB](https://www.imdb.com/title/tt4521338/). I give it a 3.5 for mediocre thrills and a weak plot.

“Forget miracles, you need hitting.” —Angela

Today’s quick review: Angel-A. Thousands of euros in debt to the wrong kind of people, Andre Moussah (Jamel Debbouze), an American living in Paris, contemplates suicide as the only option left to him. But before he can go through with it, he meets Angela (Rie Rasmussen), a tall, gorgeous blonde who agrees to help him with his problems. As Angela helps him pay off his debts, Andre begins to suspect there is more to her than meets the eye.

Angel-A is a French dramatic comedy with elements of fantasy and romance. Written and directed by Luc Besson, Angel-A follows Andre and Angela as they set about cleaning up the mess Andre has made of his life. Over the course of a few days, Andre takes stock of his decisions, confronts his demons, and comes to depend on Angela, complaining and making excuses all the while. Angel-A is a niche pick that manages to hit a sweet spot for the right viewer.

Angel-A revolves heavily around the relationship between Andre and Angela. The two characters spend almost all of the movie together, and their patter drives both the movie’s comedy and its emotional arc. To the movie’s credit, it makes their dynamic work through a combination of artistry and brute force. There are meaningful moments that help cement their relationship, but for the most part, they simply argue and bond until it becomes natural.

Angel-A also has an offbeat quality that takes some getting used to. Andre lives in a comically exaggerated version of Paris where gangsters loan out five-figure sums to unreliable strangers, beautiful women intervene in the lives of desperate men, and fortunes can change in an instant. The movie’s larger-than-life story, seedy setting, and wholesome themes give it an identity of its own, but one the audience has to invest in.

Angel-A is an odd movie in a number of ways. It relies on two rough characters who take a while to establish a functional dynamic, its world uses familiar components in unfamiliar proportions, and its premise gets stranger the longer it plays out. But the payoff for all of this is a story that’s often funny and ultimately rewarding. Open-minded viewer should give it a shot. Those looking for something conventional should steer clear.

For a classic tale of self-reflection with a more dignified tone, try It’s a Wonderful Life or The Bishop’s Wife. For a romantic drama about a supernatural change to the course of one person’s life, try City of Angels. For a crime drama with introspective themes and an even stranger story, check out Revolver.

[7.1 out of 10 on IMDB](https://www.imdb.com/title/tt0473753/). I give it a 6.5 to 7.0 for quirky charm with some rough edges.

Today’s quick review: Dune Drifter. After a disastrous space battle, pilot Yaren (Daisy Aitkens) and her gunner Adler (Phoebe Sparrow) crash-land their fighter on an inhospitable planet. There they set up a shelter, try to stabilize Yaren’s injuries, and activate a distress beacon in hope of rescue. But when it becomes clear that no help is coming, Adler must make a lengthy trek across harsh terrain to retrieve the parts they need to fix their ship.

Dune Drifter is a budget sci-fi survival thriller about a pair of combatants stranded on a distant planet. Dune Drifter has a solid science fiction core, with a clearly scoped story and ample opportunity for danger. Adler’s struggles to survive are desperate and just varied enough to keep the film moving forward. However, Dune Drifter’s craftsmanship leaves plenty to be desired, making the movie a rough watch that’s outclassed by its peers.

Dune Drifter has several qualities that make it hard to get through. The movie uses shrieking and brutal injuries to ratchet up the tension instead of using subtler, less abrasive techniques to set the mood. The visual storytelling is clunky, frequently making it hard to track what is going on. The sets, costumes, and special effects are all passable, but they show clear signs of the movie’s budget. The world-building is another missed opportunity.

The result is a science fiction movie with a serviceable plot but without the craftsmanship needed to make it engaging. Dune Drifter shows glimmers of potential in its competent plot structure and the challenges Adler has to overcome. But in the end, other movies deliver the same type of drama with fewer drawbacks, mastering the tonal balance and sense of creativity that Dune Drifter struggles with. Most viewers should steer clear.

For a tale of survival in space with a much richer setting, try Prospect. For a budget sci-fi movie with a similar premise and a more cluttered plot, try Alien Arrival. For a somewhat flawed but more heartfelt story about two survivors of a spaceship crash, try After Earth. For a more triumphant, technically detailed story of survival in space, try The Martian.

[3.3 out of 10 on IMDB](https://www.imdb.com/title/tt11835714/). I give it a 4.5 for a decent story with badly flawed execution.