Month: August 2023

“The day they lay you away, what I do on your grave won’t pass for flowers.” —Marshall Thibido

Today’s quick review: The Shootist. J.B. Books (John Wayne), an aging gunfighter, travels to Carson City for a medical examination, where Doc Hostetler (James Stewart) informs him that he has terminal cancer. Hoping to live out his remaining weeks in peace, Books rents a room from Bond Rogers (Lauren Bacall) and her son Gillom (Ron Howard). But when the secret of his illness gets out, Books must fend off a flood of outlaws looking to kill him first.

The Shootist is a Western drama about the last days of a legendary gunfighter. The film explores Books’ personality, his credo, and how he chooses to spend his dwindling time. John Wayne delivers a confident yet very human performance as Books, who rejects the public frenzy surrounding his death and instead focuses on putting his affairs in order. Grounded conflict and an organic plot make The Shootist a unique and memorable Western.

The Shootist portrays the classic archetype of the heroic gunfighter in a new light. As the Old West fades away, one of its greatest living legends faces his final battle against an incurable disease. The film does a skillful job of showing Books’ weakened condition wile still respecting the skills and attitude that made his name. The result is a respectful sendoff for a particular kind of Western hero embodied by John Wayne.

The Shootist accomplishes a rare feat, turning a genre on its head while staying true to its spirit. The calm strength of J.B. Books, the details of his final days, and the handful of gunfights he has left are more than enough to carry the film. The Shootist is not as sentimental as other, similar movies, which may affect how much it resonates with some viewers. But its many positive qualities make it worth a watch for anyone interested.

For another Western starring John Wayne as an aging gunfighter, try Big Jake. For a Western comedy about the end of an era, try My Name is Nobody. For a modern crime drama about a grizzled old man passing down life lessons to his young protege, try Gran Torino.

[7.6 out of 10 on IMDB](https://www.imdb.com/title/tt0075213/). I give it a 7.0 to 7.5 for a moving story.

“Well, son, since you haven’t learned to respect your elders, it’s time you learned to respect your betters.” —Jacob McCandles.

Today’s quick review: Big Jake. When a band of outlaws led by John Fain (Richard Boone) raids the McCandles ranch and kidnaps her grandson Jake (Ethan Wayne), Martha McCandles (Maureen O’Hara) asks her estranged husband Jacob (John Wayne) to deliver the $1 million ransom. With the help of his sons James (Patrick Wayne) and Michael (Christopher Mitchum) and his old friend Sam (Bruce Cabot), Jacob sets out to save the boy one way or another.

Big Jake is a Western about an expedition to save a boy who was kidnapped and held for ransom. John Wayne stars as Jacob McCandles, a stern man with the experience needed to manage all sorts of dangerous situations. Whipping his sons into shape, he must navigate traps and ambushes to deliver the money and rescue his grandson. In spite of a few rough spots with its writing and acting, Big Jake tells a satisfying story with solid foundations.

Much of Big Jake’s appeal comes from its lead. John Wayne delivers a commanding performance, and his character’s feats are impressive without being unbelievable. The movie plays up the clash between his old-fashioned attitude and the more modern sensibilities of 1909. The theme of old versus new is not as fully explored as it could have been, but Jacob’s competence and the use of some newer technology helps the movie strike a good balance.

Big Jake makes some minor missteps that don’t detract too much from the overall experience. The writing can be choppy in places, tending towards blunt summary and exposition rather than the artful, understated dialogue seen in other films. The acting has the same problem, sketching coarse portraits of the characters rather than building them up organically. These issues are not too distracting, but they give the movie a rough sort of character.

Big Jake is a fine pick for fans of the Western genre and John Wayne in particular. The movie is direct and unambiguous, but its plot is effective and its lead is enough to carry it. Those looking for more poetic writing and artistic direction should try the work of Sergio Leone. For a more adventurous Western that involves a man protecting his family, try Silverado. For a more violent movie about a man hunting down kidnappers, try Taken.

[7.2 out of 10 on IMDB](https://www.imdb.com/title/tt0066831/). I give it a 7.0 for a solid story with a capable lead.

Today’s quick review: Shane. Shane (Alan Ladd), a roving gunfighter, decides to settle down and help Joe Starrett (Van Heflin) tend to his homestead. Over time, Shane becomes close friends with Joe, his wife Marian (Jean Arthur), and their son Joey (Brandon De Wilde). But when cattle rancher Rufus Ryker (Emile Meyer) and his men try to drive the Starretts and the other local farmers off their land, Shane steps in to even the odds.

Shane is a classic Western drama about a stranger who changes the lives of a frontier family. Alan Ladd stars as Shane, whose calm demeanor and fighting skill are just what Joe and the other farmers need to bolster their courage. Shane features a capable lead, well-orchestrated drama, and a couple of tense gunfights. But although it paints its story with crisp brushstrokes, some of its choices will be hit-or-miss.

Where Shane excels is the dynamics between the farmers, the ranchers, and Shane himself. The threat Ryker poses goes beyond just the Starretts, and his intimidation tactics gradually wear away at the other farmers, leaving Joe and Shane to rally the few who are willing to fight back. Unlike villains in other Westerns, Ryker has a touch of tragedy to him, an old rancher driven to violence by the arrival of new settlers fencing off what was once his land.

Shane is on shakier ground when it comes to its supporting cast. Depending on your taste, the Starrets can be either a loving surrogate family for Shane or abrasive characters who never quite click. Joe can come across as ineffectual, Marian vocally opposes his efforts on a few occasions, and Joey is a loud and inquisitive young boy. None of these traits are out of place in the story, but they can distract from the movie’s stronger aspects.

Shane is a straightforward Western with clean execution. Its competent hero and dangerous villain make for a satisfying conflict, while the attention Shane pays to its characters’ motivations gives the movie some added depth. How much you get out of Shane will come down to taste. The movie has the most to offer fans of black-and-white conflicts with a serious tone, but its simple story and hit-or-miss characters will not suit everyone.

For a fight against a similar villain, try Tombstone, Hour of the Gun, or Gunfight at the O.K. Corral. For the modern action equivalent, try Road House.

[7.6 out of 10 on IMDB](https://www.imdb.com/title/tt0046303/). I give it a 7.0 for a compelling conflict and a few questionable choices; your score will vary.

Today’s quick review: The Proud Rebel. John Chandler (Alan Ladd), a former Confederate soldier, travels north with his son David (David Ladd) in search of a doctor who can treat the boy’s muteness. While in Aberdeen, Illinois, John gets into a fight with Harry Burleigh (Dean Jagger), a local rancher, and is charged with assault. To pay the fine, John agrees to help Linnett Moore (Olivia de Havilland), an independent-minded woman, tend to her farm.

The Proud Rebel is a Western with romantic elements. Alan Ladd stars as John Chandler, a displaced Southerner who has to take care of his mute son. John and David use their meager resources to travel from town to town, looking for a doctor talented enough to cure David. Linnett introduces stability into their lives when she offers them work and a place to stay. Strong character interactions and a tight plot make the movie a worthwhile pick.

The Proud Rebel has a knack for weaving together its plot developments and its character work. A significant part of the movie is spent watching John and David settle into their temporary home on Linnett’s farm. The characters are well-defined, and seeing them help each other is rewarding. But the story never loses its momentum. Every bit of character development is repaid in drama down the line, tying the movie into a cohesive whole.

Give The Proud Rebel a shot when you are in the mood for a character-driven Western with a wholesome story. The Proud Rebel strikes a nice balance between earnest drama and lighter moments, and its characters give the movie a solid emotional core. Viewers looking for a more action-packed or overtly dramatic Western may want to steer clear.

For a Prohibition-era crime drama about the bond between a man and his son, try Road to Perdition. For a lighter romantic comedy about a stranger in town and the willful woman he takes an interest in, try The Quiet Man. For a much darker drama with a Western setting and a more skewed father-son relationship, try There Will Be Blood.

[6.8 out of 10 on IMDB](https://www.imdb.com/title/tt0052097/). I give it a 7.0 for a satisfying father-son story.

Today’s quick review: Invitation to a Gunfighter. In 1865, Confederate soldier Matt Weaver (George Segal) returns to his farm in New Mexico, only to find that local businessman Sam Brewster (Pat Hingle) has auctioned it off in his absence. When Weaver kills a man while trying to reclaim his farm, Brewster hires Jules Gaspard d’Estaing (Yul Brynner), an imposing gunfighter, to kill Weaver without a trial.

Invitation to a Gunfighter is a Western drama starring Yul Brynner. The story follows a tragic sequence of events as a returning Confederate soldier is ostracized from his Union-aligned town. Weaver’s reappearance strains the relationship between Ruth Adams (Janice Rule), his former fiance, and Crane (Clifford Davis), her alcoholic husband. It also leaves the fate of the town in the hands of Jules, a taciturn gunman with an unusual sense of justice.

The greatest strength of Invitation to a Gunfighter is its lead. Yul Brynner has a dominating presence that carries the early parts of the film. Jules effortlessly takes command of any situation he decides to get involved in, and the question of who he is and where he came from provides the film’s best hook. Invitation to a Gunfighter also scores points with a tangled cast of characters who are all flawed in believable ways.

However, Invitation to a Gunfighter has a hard time capitalizing on its strengths. The movie does not have a clear trajectory in mind, so it loses momentum around the halfway mark. Jules vacillates between hero and villain once or twice too often, and the best parts of his character are not fully explored. And while the finale does tie the various plot threads together, it does so by fiat, rather than as a result of careful planning.

Invitation to a Gunfighter is a Western with snatches of effective drama, but it ultimately does not live up to its potential. Viewers interested in small-town conflicts and morally ambiguous leads will find that Invitation to a Gunfighter has something to offer. But its story is neither as neat nor as compelling as it could have been, leaving the movie outclassed by Westerns that are better able to manage their tension.

For a more modern story about a veteran who finds himself at odds with the residents of a small town, try First Blood. For a sci-fi Western starring Yul Brynner, try Westworld. For a classic Western with better plot structure and similar nuance, try A Fistful of Dollars or The Good, the Bad and the Ugly.

[6.3 out of 10 on IMDB](https://www.imdb.com/title/tt0058238/). I give it a 6.5 for a talented lead, a promising setup, and a muddled ending.

Today’s quick review: Vera Cruz. In the middle of the Mexican rebellion against Emperor Maximilian (George Macready), American soldiers make their way south of the border to sell their services to the highest bidder. Ben Trane (Gary Cooper), a Southern gentleman displaced by the Civil War, forms an unlikely alliance with Joe Erin (Burt Lancaster), an unpredictable killer and thief, to protect a shipment of $3 million in gold for the Emperor.

Vera Cruz is a Western drama about a gang of American mercenaries looking to profit from a Mexican civil war. Gary Cooper stars as Ben Trane, whose polite demeanor and sense of honor set him apart from the others around him. Burt Lancaster plays opposite him as Joe Erin, a dangerous gunfighter who will betray anyone for his own profit. Vera Cruz features a complex web of shifting alliances as different factions make a play for the Emperor’s gold.

Vera Cruz thrives on conflict. The setup includes half a dozen parties with their own motives: Ben, Joe, the other mercenaries, the Emperor’s forces, the rebels, and Countess Marie Duvarre (Denise Darcel), a French diplomat who is not what she seems. Seeing these factions scheme and betray each other gives the movie a dark appeal. And while neither Ben nor Joe is a conventional hero, the complexities of their characters make them interesting to watch.

As such, Vera Cruz has plenty to offer for fans of the criminal side of the Western genre. Two solid leads, a plot that twists and turns, and themes of idealism versus cynicism make Vera Cruz a worthwhile pick. Still, the moral ambiguity of its characters will not appeal to everyone, and viewers looking for a more adventurous Western may want to give it a pass.

For another thematically dark Western about an expedition through disputed territory, try Duel at Diablo. For another Western drama starring Burt Lancaster, try Gunfight at the O.K. Corral. For a more sweeping tale of gold and betrayal, try The Good, the Bad and the Ugly.

[7.1 out of 10 on IMDB](https://www.imdb.com/title/tt0047647/). I give it a 7.0 for a plot fraught with conflict.

Today’s quick review: Duel at Diablo. Jess Remsberg (James Garner), a scout looking for the man who murdered his Comanche wife, and Toller (Sidney Poitier), a soldier turned horse trader, join a Cavalry expedition to Fort Concho. Along the way, they are attacked by a band of Apache warriors led by Chata (John Hoyt). Meanwhile, Ellen Grange (Bibi Andersson) deals with the fallout of having been kidnapped by the Apaches years ago.

Duel at Diablo is a Western war drama about a violent encounter between a group of U.S. Cavalry recruits and a band of Apache raiders. It weaves together the personal stories of Remsberg, Toller, and Grange, touching on themes of ostracism, revenge, and the cycle of violence between American soldiers and displaced Apaches. Duel at Diablo opts for a darker tone than most Westerns, allowing it to explore deeper themes and tell a unique story.

Duel at Diablo does not pull its punches. The portrait it paints of the Old West is brutal, with dangers at every turn and very few trustworthy people to be found. Remsberg, Toller, and Grange do what they can to simply live, but the violent circumstances around them force them to take drastic actions to survive. Duel at Diablo is not as viscerally dark as some modern movies, but the glimmers of hope are few and far between.

Where Duel at Diablo falls short is tying its plot threads together into a cohesive whole. The movie gets most of the way there, finding natural ways to place its three main characters in the same place at the same time. But the resolution to their arcs is not as elegant. Each plot thread works individually, but there are few chances for the main characters to actually connect with one another or form a larger bond.

The result is a Western whose storytelling is solid but not masterful. Duel at Diablo is a fine pick for those in the mood for something serious. Its conflicts are interesting and explore aspects of the Western genre that are commonly glossed over. But its heavy tone will not suit everyone, and it remains outclassed by films that do a better job of using their characters together.

For a modern Western that balances a serious tone with richer character development, try 3:10 to Yuma. For a historical war drama that depicts a similar conflict between an outnumbered band of soldiers and local warriors, try Zulu.

[6.6 out of 10 on IMDB](https://www.imdb.com/title/tt0060355/). I give it a 6.5 to 7.0 for interesting themes and tangible danger.

“Flawless victory.” —Kung Lao

Today’s quick review: Mortal Kombat. Cole Young (Lewis Tan), a struggling martial artist, is chosen as one of the warriors who will defend Earthrealm from the sorcerer Shang Tsung (Chin Han) and the invading armies of Outworld. Together with Jax (Mehcad Brooks), Sonya Blade (Jessica McNamee), Kano (Josh Lawson), and Liu Kang (Ludi Lin), Cole trains to defeat Sub-Zero (Joe Taslim) and the other warriors of Shang Tsung.

Mortal Kombat is a martial arts fantasy action movie based on the video game of the same name. Mortal Kombat features a colorful ensemble cast with a wide range of special talents and fighting styles. The movie pairs off its warriors in a series of deadly battles as Shang Tsung attempts to eliminate Earth’s defenders before they can master their power. Unique characters and lots of gory action make Mortal Kombat a straightforward but enjoyable watch.

Mortal Kombat does a skillful job of capturing the spirit of its source material. The fights are varied and full of spectacle, the large cast lets the movie indulge in a high body count, and the movie never shies away from packing in more action wherever it can. Fans of the franchise will find plenty of direct references to the source material. And while the plot is not masterful, it serves its main purpose of tying the action together.

However, Mortal Kombat has a few clear shortcomings. The eclectic nature of the universe means that Mortal Kombat always feels like it’s making up new rules as it goes along. Several key concepts are never adequately explained. The acting is mediocre, with actors who fit their roles but don’t do much with them. Some of the characters are also underutilized. This is especially true for Cole, a mediocre protagonist who adds little to the plot.

Overall, Mortal Kombat delivers exactly what it promises: bloody, creative fights between larger-than-life characters. Fans of the series will find it entertaining, if flawed, while anyone who enjoys the fantasy side of the action genre will get something out of it. However, issues with its characters and its story keep Mortal Kombat from reaching higher. Steer clear if you are hoping for something with a little more substance.

For a campier take on the same source material, try the original Mortal Kombat. For a gory and fanciful martial arts action movie, check out Ninja Assassin. For a fighting game adaptation with a much lighter tone, try Street Fighter. For a much weaker movie with similar plot elements, try Mortal Kombat: Annihilation, Street Fighter: The Legend of Chun-Li, or Dragon Wars: D-War.

[6.5 out of 10 on IMDB](https://www.imdb.com/title/tt0293429/). I give it a 7.0 for violent action wrapped around a flawed story.

Today’s quick review: Gunfight at the O.K. Corral. Wyatt Earp (Burt Lancaster), the marshal of Dodge City, makes an unlikely friend when he saves the life of Doc Holliday (Kirk Douglas), an alcoholic gambler suffering from tuberculosis. Accompanied by Holliday, Earp travels to Tombstone, Arizona, to help his brother Virgil (John Hudson) deal with Ike Clanton (Lyle Bettger), a cattle rustler causing trouble in the town.

Gunfight at the O.K. Corral is a Western drama based on a true story. Burt Lancaster stars as Wyatt Earp, a devoted lawman who always pursues justice, even at great personal cost. Kirk Douglas co-stars as Doc Holliday, a gambler living on the edge of the law who nevertheless becomes Earp’s closest friend. Gunfight at the O.K. Corral augments a naturally dramatic plot with skillful storytellinng, but its particular style will not suit everyone.

Gunfight at the O.K. Corral has a knack for establishing conflict. The movie takes liberties with the historical record to maneuver its characters into place for the climax it wants. Along the way, it carves out several worthwhile character arcs, including Hollidiay’s tumultuous relationship with Kate (Jo Van Fleet), Earp’s conflict between his desires and his duty, and the hesitation Billy Clanton (Dennis Hopper) has over following his brother Ike.

Gunfight at the O.K. Corral has solid craftsmanship, but several aspects of it are hit or miss. Burt Lancaster and Kirk Douglas suit their roles well, but viewers who are not already fans may not get as much out of their performances. The movie can be heavy-handed in the way it streamlines events and injects artificial drama. The tone may also feel strange to modern audiences, a sober story offset by a few fanciful touches.

Fans of classic Westerns should give Gunfight at the O.K. Corral a shot. How it compares to other entries into its genre will come down to taste, but you will get the most out of it if you enjoy heavy drama but not moral ambiguity. Anyone looking for a lighter, more adventurous Western should try elsewhere.

For a somewhat more factual account of the gunfight and its aftermath, check out Hour of the Gun. For a more expansive rendition of the same events, try Tombstone.

[7.2 out of 10 on IMDB](https://www.imdb.com/title/tt0050468/). I give it a 7.0 for well-orchestrated conflict.

Today’s quick review: Hour of the Gun. In the aftermath of a bloody shootout with Ike Clanton’s (Robert Ryan) men, Wyatt Earp (James Garner), his friend Doc Holliday (Jason Robards), and his brothers Morgan (Sam Melville) and Virgil (Frank Converse) try to restore order to Tombstone, Arizona. But when Clanton sends a group of killers after the Earps, Wyatt and his brothers are pushed to the limit trying to take down Clanton within the law.

Hour of the Gun is a Western drama based on a true story. James Garner stars as Wyatt Earp, a former marshal forced to take action when his family comes under attack by a group of criminals. Hour of the Gun is a stark retelling of these events, focusing on the legal battle between Earp and Clanton, the bloodshed that ensues, and the thin line between justice and revenge. Solid storytelling makes Hour of the Gun a plain but effective drama.

Hour of the Gun’s direct style is a double-edged sword. On the one hand, it puts the most dramatic parts of the story front and center. Hour of the Gun has no unnecessary setup, no unimportant subplots, and no excess sentimentality. The events of the movie speak for themselves, and much of the movie’s dramatic power comes from the steely way that Wyatt Earp, Doc Holliday, and their posse go about rounding up Clanton’s men.

On the other hand, Hour of the Gun can be somewhat brusque. The large cast and lack of setup can make the movie hard to follow for viewers who are not already familiar with the story. The sheer number of pivotal moments means that none of them get much time to breathe. And while the impotant themes come through clearly, like Wyatt’s friendship with Doc or his use of the law for revenge, more emotional storytelling could have driven them home better.

The result is a dry but solidly constructed Western that succeeds on the back of its compelling subject matter. Hour of the Gun will appeal to fans of the historical, crime-oriented side of the genre. It has neither the idealism of lighter Westerns nor the stylistic flair of the genre’s more fictional dramas. But if you are in the mood for a story with strong twists and clear stakes, Hour of the Gun is a worthwhile pick.

For a more elaborate, emotionally rich Western based on the same events, try Tombstone. For a biographical crime drama with a similarly straightforward style, try Dillinger. For a Prohibition-era crime drama about a group of law enforcement officers who bend the law to stop a notorious criminal, try The Untouchables.

[6.7 out of 10 on IMDB](https://www.imdb.com/title/tt0061787/). I give it a 7.0 for a dramatic story and solid craftsmanship.