Author: Stan

Today’s quick review: Once Upon a Time in America. Thirty-five years after leaving New York, David “Noodles” Aaronson (Robert De Niro) returns to the Jewish neighborhood where he grew up. There he reminisces about his youth, his lost love Deborah (Elizabeth McGovern), and the gang he once ran with three of his friends (James Woods, William Forsythe, and James Hayden). But more than anything, he mourns the events that brought it all to an end.

Once Upon a Time in America is a historical crime drama from director Sergio Leone. The movie splits its time between Noodles’ childhood, his criminal career in Prohibition-era New York, and his belated return home in the late 1960s. Once Upon a Time in America is an ambitious tale of criminal enterprise and regret held together by Leone’s precise direction. However, its slow pacing and dark subject matter hurt the film’s emotional payoff.

Once Upon a Time in America has an impressive dramatic toolkit. The movie has a knack for saying a lot with a few words and letting the audience fill in the gaps. Leone lingers on carefully chosen moments that capture the mental states of the characters, while sober performances from De Niro and a broad supporting cast set the tone quite well. The story covers plenty of ground, a broadly scoped crime drama with elements of tragedy and mystery.

How the movie applies its talents is more dubious. Once Upon a Time in America is a bleak movie whose characters do nothing to soften the blow. Noodles and his friends are unrepentant criminals with only a modicum of the glamor and charm typically seen in crime epics. Their victories are hard to rejoice in, their setbacks are deserved, and the moral ambiguity of the film works better as an intellectual exercise than an emotional dimension.

More broadly, Once Upon a Time in America has a hard time managing its pacing. The same slow, deliberate pacing that makes its scenes engaging makes it hard for the film to build up tension. The questions set up early in the film turn stale before they’re answered, while the clever story hooks of the film’s last half-hour come too late to build up any anticipation. The result is a story with good pieces that are assembled in the wrong order.

How much you get out of Once Upon a Time in America will depend heavily on taste. Those who are in it for its cinematography, its acting, and its gritty depiction of Prohibition-era New York will find that the film has everything it needs. Its high level of craftsmanship, impressive scope, and serious treatment of its subject matter make it worth a watch for those interested in what it has to offer.

But viewers who are looking for likable characters, a tight plot, or a clear emotional arc will not get as much out of the film. For the right viewer, Once Upon a Time in America is a well-rounded classic that accomplishes a lot in its nearly four-hour run time. For the wrong viewer, it will be a taxing and unrewarding watch whose payoff isn’t worth the investment required. Drama aficionados should try it; all others should steer clear.

For a crime drama of similar scope and craftsmanship, try The Godfather trilogy. For another biography-style crime drama starring Robert De Niro, try Casino or Goodfellas. For a glimpse further into the past of New York’s criminal underworld, try Gangs of New York.

8.4 out of 10 on IMDB. I give it a 7.5 for high all-around craftsmanship channeled into a story that doesn’t hit the mark; your score will vary considerably.

Today’s quick review: Once Upon a Time in Hollywood. Rick Dalton (Leonardo DiCaprio) has passed his prime. Once the star of a TV Western, Rick has been reduced to taking bit parts on other shows and is struggling to adapt. Meanwhile, Cliff Booth (Brad Pitt), his stunt double and best friend, is facing career troubles of his own. Together, the two men must navigate the glamor and insanity of 1960s Hollywood to try to stage a comeback.

Once Upon a Time in Hollywood is a comedy from director Quentin Tarantino. Set in Los Angeles in 1969, the movie is a love letter to the pop culture of the era, filled to bursting with the sights, sounds, and celebrities of the 60s. Once Upon a Time in Hollywood sports a feel-good tone backed by likable characters and a sharp sense of humor. Its rich setting, star-studded cast, and skilled craftsmanship make it a highly enjoyable watch.

Once Upon a Time in Hollywood is unusually laid-back for a Tarantino flick. His trademark over-the-top violence is all but absent, making brief appearances only at select moments. The plot is diffuse and rambling, spread out among three or four separate threads that are in no hurry to meet up. Instead, the movie occupies its time with the day-to-day lives of Rick and Cliff while gradually laying the groundwork for what is to come.

The twin pillars of the movie are Rick Dalton and Cliff Booth. Leonardo DiCaprio stars as Rick, a TV actor in the twilight of his career. Rick is a flawed man with a moody personality and an alcoholic streak, yet his loyal friendship to Cliff and his devotion to his craft make him a sympathetic character. Brad Pitt plays opposite him as Cliff, a quiet, imposing figure with an easygoing outlook on life and a perfect complement to Rick.

These two form the basis for much of the film’s comedy. Once Upon a Time in Hollywood has Tarantino’s distinctive sense of humor to it, but unlike his other films, this time it’s tempered by the characters’ heart. There are moments of black comedy, as well as bits of suspense and sheer absurdity, but it’s all tied together by a pair of characters that the movie genuinely seems to love. The result is a surprisingly feel-good watch.

Not everyone will like what the film is going for, however. Once Upon a Time in Hollywood fits together in a very particular way, and the failure of any one part of it does a lot of damage to the overall effect. Those who dislike the characters, the sprawling and often mundane plot, or the few bursts of violence will find it to be an odd watch. It also under-uses its supporting cast, including Margot Robbie, Al Pacino, and Kurt Russell.

Once Upon a Time in Hollywood is an ambitious film with the craftsmanship to bring its unique vision to life. Fans accustomed to Tarantino’s violent side may find it to be tame by comparison, while those expecting a fast-paced plot will find it aimless. But those looking to take a break in a colorful world with a pair of richly drawn characters, all backed up by strong cinematography, should give Once Upon a Time in Hollywood a shot.

For another comedic look at studio life in the glory days of Hollywood, try Hail, Caesar!. For a buddy comedy set in roughly the same time period, try The Nice Guys. For another period piece that’s more thriller than comedy, try Bad Times at the El Royale. For a more crime-oriented Tarantino flick, try Pulp Fiction. For another wild Leonardo DiCaprio comedy, try The Wolf of Wall Street.

8.2 out of 10 on IMDB. I give it an 8.0 for excellent craftsmanship, a unique vision, and plenty of fun.

Today’s quick review: Once Upon a Time in Mexico. The vigilante El Mariachi (Antonio Banderas) comes out of retirement when Sands (Johnny Depp), an unscrupulous CIA agent, hires him to kill General Marquez (Geraldo Vigil), the man who murdered his wife Carolina (Salma Hayek). But a simple act of revenge spirals out of control when Sands tries to use him to hijack a coup orchestrated by Armando Barillo (Willem Dafoe), the head of a drug cartel.

Once Upon a Time in Mexico is a violent action movie with black comedy elements. It is the final movie in Robert Rodriguez’s Mexico trilogy and easily shows the most polish of the three. From its ideas to its pacing to its outrageous situations, Once Upon a Time in Mexico is a culmination of the shift begun in the transition from El Mariachi to Desperado. The end result is a twisted gem with a distinctive style and plenty of raw entertainment.

The most visible addition to the series is Johnny Depp as Sands, a quirky, murderous CIA agent with a plan to turn an attempted military coup to his own advantage. Sand’s plans tie together the film’s sprawling plot, while Depp’s bizarre yet charismatic performance sets the tone for the entire film. Much like Once Upon a Time in Mexico as a whole, Sands brings to the table a combination of high-stakes intrigue and ridiculous black humor.

With the movie’s linchpin in place, everything else fits together with surprising precision. Antonio Banderas reprises his role as El Mariachi, whose character has been pared down to the essentials: a gun-slinging hero with sympathetic motives. The supporting cast hits the same sweet spot: vivid characters who are significant but aren’t bogged down with details. The familiar faces include Danny Trejo, Mickey Rourke, Eva Mendes, and Cheech Marin.

The same goes for the action. The stunts are anything but realistic, but they are creative, polished, and strung together well. The action has a nice blend of tension and absurdity, making it hard to predict and delivering a series of fun surprises for those who appreciate Rodriguez’s twisted sense of humor. The plot is similarly ambitious and similarly polished, a sprawling web of schemes and counter-schemes that somehow tie together in the end.

Once Upon a Time in Mexico is an excellent pick for fans of offbeat action, madcap situations, and films with a strong directorial vision. Once Upon a Time in Mexico will not be for everyone. Even those who don’t mind its grey morality, nonlinear plot, and relatively high amounts of gore may not appreciate the exaggerated direction it takes the series. But for a viewer whose tastes line up the right way, it’s an energetic and original watch.

For violent action and dark humor in the same vein, but with a greater focus on story and cinematography, try Quentin Tarantino’s movies. For an even more stylized, gory action movie from the same director, try Sin City. For a crime comedy that manages a similarly tangled plot with even more skill, try Snatch or Lock, Stock, and Two Smoking Barrels. For a grittier, more dramatic cartel power struggle set in Mexico, try Sicario.

6.4 out of 10 on IMDB. I give it a 7.0 to 7.5 for hit-or-miss energy and style.

Today’s quick review: Desperado. Ever since gangsters injured him and killed the woman he loved, an ex-mariachi (Antonio Banderas) has been traveling from town to town, killing the men responsible. Now, with the help of a close friend (Steve Buscemi), he has tracked down their leader, Bucho (Joaquim de Almeida). But when dealing with Bucho’s men proves to be a challenge, the vigilante must rely Carolina (Salma Hayek), a bookstore owner, for help.

Desperado is an action movie written and directed by Robert Rodriguez. Desperado is the sequel to El Mariachi, following the nameless title character as he takes his revenge for the events of the first film. The sequel trades the minimalism and understated humor of the first film for gun-toting action, larger-than-life characters, and absurd situations. The shift will appeal to fans of tongue-in-cheek action but less so to fans of crime dramas.

Desperado takes the world established in El Mariachi to new extremes. The protagonist, now played by Antonio Banderas, has become a notorious killer, feared by criminals around Mexico. The stunts are bigger this time around, with plenty of bullets, gore, and explosions. Desperado also benefits from a more memorable cast, including Salma Hayek, Steve Buscemi, Danny Trejo, Cheech Marin, and Quentin Tarantino, who help give the film its flavor.

Desperado does have a few limitations to temper its strengths. The film takes a brute force approach to action that opts for volume over finesse, with stunts that are more notable for their energy than their execution. Desperado also sacrifices what dramatic weight El Mariachi had in favor of more action and a fresh infusion of black comedy. This does lead to a more entertaining movie overall, but at the cost of the first film’s subtleties.

Fans of the stranger side of the action genre will want to give Desperado a shot. The combination of a colorful cast, a chaotic setup, and plenty of violence makes it an entertaining watch for the right viewer. But its loose style, thin plot, and lack of earnest drama mean that it’s outclassed by action films that have a better balance of style and substance. Those looking for a cinematic masterpiece will want to keep looking.

For violent action in the same style, try the work of Quentin Tarantino. For an even more stylized action movie from Robert Rodriguez, try Sin City. For a budget crime movie with a subtler blend of action and offbeat humor, try The Boondock Saints.

7.2 out of 10 on IMDB. I give it a 7.0 for straightforward, violent entertainment.

Today’s quick review: El Mariachi. A traveling musician (Carlos Gallardo) ends up in the middle of a gang war when he gets mistaken for Azul (Reinol Martinez), a local crime boss out for revenge against Moco (Peter Marquardt), his treacherous former partner. With Moco’s men scouring the city for a man matching his description, the musician seeks shelter with Domino (Consuelo Gomez), a bar owner who takes a liking to him.

El Mariachi is a crime drama written and directed by Robert Rodriguez. El Mariachi follows an aspiring mariachi as he arrives in a new city, looking for work. What he finds instead is violence, and he’s forced to rely on luck, determination, and the kindness of a stranger to stay alive. The movie makes the most of its minimal budget, with interesting conflicts and a clear directorial voice. However, its limited scope won’t appeal to everyone.

El Mariachi accomplishes quite a bit with the resources at its disposal. The premise is simple, a case of mistaken identity that kicks off a series of close calls for the film’s innocent protagonist. The film focuses more on peril than action, and while its plot is serious in nature, it squeezes in a bit of absurd comedy that gives it some flavor. The finishing touch that helps set the movie apart is Robert Rodriguez’s close, personal cinematography.

Even so, El Mariachi has less substance than other films in the same vein. The title character has his hands full trying to survive, keeping him in a passive role for most of the film. He does contribute somewhat to the film’s drama, but not as much as if he were more personally involved in the story. Likewise, the conflict between Moco and Azul leads to some interesting individual encounters but never comes together the way it should.

El Mariachi is worth a watch if you’re interested in a pared-down crime drama with a distinctive style. Though not as overtly impressive as the best films in the genre, solid craftsmanship and a promising setup make it a fine pick for those who are curious. Those hoping for something with richer drama, a more intricate plot, or a more uplifting tone should give it a pass.

For another minimalistic crime drama with a more elaborate plot and a more brooding atmosphere, try Blood Simple. For a crime comedy with a sharper script and a complicated plot, try Lock, Stock, and Two Smoking Barrels. For a crime comedy about an innocent man dragged into a turf war due to a case of mistaken identity, try Lucky Number Slevin. For a darker, more captivating movie about a loner thrust into a violent situation, try Drive.

6.9 out of 10 on IMDB. I give it a 7.0 for attentive cinematography and a decent plot.

Today’s quick review: The Legend of Zorro. For ten years, Alejandro de la Vega (Antonio Banderas) has protected the people of California as the masked adventurer Zorro, at the cost of his relationship with his wife Elena (Catherine Zeta-Jones) and son Joaquin (Adrian Alonso). Now, with California on the verge of statehood, Alejandro finds it hard to give up the mask, even as he faces romantic competition from Armand (Rufus Sewell), a French count.

The Legend of Zorro is an action adventure and the sequel to The Mask of Zorro. Set a decade after the first film, The Legend of Zorro picks up with Alejandro as he contemplates retiring from his vigilante career to spend more time with his family. The movie is a lighthearted adventure with a fun mix of action and comedy. However, a loose plot, a weak villain, and a heavier focus on comedy make it a step down from its predecessor.

The Legend of Zorro is a lighter take on the character than the previous film. The action is a shade less violent, with less swordplay and more acrobatics. The conflict is more diffuse, swapping the revenge plot featured in the first film for the lower-stakes drama of domestic turmoil. The comedy is more frequent and less subtle. Tonally, the film feels like a victory lap for Alejandro, in spite of the many setbacks he faces.

These elements work fine together, but they make for a less impressive adventure than The Mask of Zorro. The Legend of Zorro’s strengths include the pairing of Antonio Banderas and Catherine Zeta-Jones, a generous serving of breezy action, and humor that, while not brilliant, contributes to an atmosphere of adventure. But those hoping for the sharp action, well-balanced story, or dramatic edge of the original may be disappointed.

For tighter execution of the same character, try The Mask of Zorro. For a Western action comedy with a similar plot and tone, try Shanghai Noon. For a more offbeat action adventure that plays in the same space, try The Lone Ranger. For an even stranger attempt at something similar, try Wild Wild West or Jonah Hex.

5.9 out of 10 on IMDB. I give it a 6.5 for enjoyable blend of action and comedy that’s missing some of the finesse of the original.

Today’s quick review: The Mask of Zorro. Twenty years after losing his wife, his daughter, and his freedom to his nemesis, Governor Rafael Montero (Stuart Wilson), Diego de la Vega (Anthony Hopkins), the masked hero known as Zorro, finds a worthy protege in Alejandro Murrieta (Antonio Banderas), a hotheaded outlaw. To get his revenge, Diego trains Alejandro to become the next Zorro, protect the people, and stop Montero once and for all.

The Mask of Zorro is an action adventure that adds a new chapter to the story of the classic pulp hero. Antonio Banderas stars as Alejandro, a thief who finds new purpose in life when he meets Zorro, aged but still as sharp as ever. The Mask of Zorro embraces the breadth of its genre, with daring feats, sweeping conflicts, a sprinkling of humor, and a dash of romance. The end result is a robust and enjoyable film that delivers what it promises.

The Mask of Zorro has action at its core, and it never forgets it. Alejandro’s exploits are accompanied by chases, fights, leaping, sneaking, and all the other tricks of a masked vigilante. The film manages to squeeze a fair amount of variety into this framework. The stunts are not superlative, but they are spirited, cleanly executed, and doled out in generous heaps, with just enough creativity to keep the action feeling fresh throughout.

The Mask of Zorro also boasts a surprising amount of story. The plot includes a number of threads that are woven together well, including Alejandro’s training as Diego’s successor, Montero’s plan to claim California for himself, and Diego’s attempt to reach Elena (Catherine Zeta-Jones), the daughter that Montero stole from him. These subplots give the film an unusual amount of substance and make it a worthwhile addition to Zorro’s canon.

Still, The Mask of Zorro is bound by its premise. How much you get out of the movie will depend on how much you like adventures in general. The plot is dramatic but not realistic. The action goes a step beyond the usual swashbuckling fare, but it’s still outclassed by the best of the action genre. The characters generally hit the mark but tend to be good rather than great. In short, The Mask of Zorro is exactly what it presents itself as.

The Mask of Zorro is a strong pick when you’re in the mood for something adventurous with a good balance of comedy and drama. How much you get out of the film will come down to taste, but adventure fans will find that The Mask of Zorro has a little bit of everything, woven together well and delivered with panache. Those interested in what it has to offer should give it a shot. Those looking for high drama or fine art may want to steer clear.

For a more dramatic tale of revenge, try The Count of Monte Cristo. For the superhero equivalent, try Batman Begins. For an even more sweeping adventure in the same vein, try Pirates of the Caribbean: The Curse of the Black Pearl.

6.7 out of 10 on IMDB. I give it a 7.0 for solid action and plot.

Today’s quick review: Three Amigos. To save her village from the infamous El Guapo (Alfonso Arau), Carmen (Patrice Martinez) sends a telegram asking for help from the Three Amigos (Steve Martin, Martin Short, and Chevy Chase), silent film stars who play folk heroes on the screen. Desperate for work, the Amigos head to Mexico for what they assume will be an easy acting gig, only to find themselves face-to-face with bandits who are all too real.

Three Amigos is a comedy adventure about three actors mistaken for the heroes they play on film. The movie takes a classic case of mistaken identity and runs with it. The Amigos are skilled entertainers but hopeless heroes; to save the day, they must rely on showmanship and dumb luck. Energetic performances, consistent humor, and a breezy tone make Three Amigos a worthwhile pick for fans of the lighter side of the comedy genre.

Three Amigos’ greatest strength is its acting. Steve Martin, Martin Short, and Chevy Chase are a perfect fit for each other and for their roles. Sharp timing and excellent chemistry help them sell the Amigos as well-meaning but wimpy performers with years of experience together. The leads are backed quite nicely by Alfonso Arau and Patrice Martinez, who each contribute to the delicate balance of conflict and absurdity that the film runs on.

Beyond its acting, Three Amigos features well-judged comedy and a pinch of heart. The jokes are inventive and consistent, with a healthy mix of slapstick, situational comedy, wordplay, and general absurdity. The film has a knack for setting up jokes for down the line, so even its one-off gags feel cohesive with the rest of the film. Still, the jokes aren’t as sharp as in some other comedies, and their effectiveness will come down to taste.

Watch Three Amigos when you’re in the mood for something funny, clever, and carefree. The film’s particular flavor of comedy won’t appeal to everyone, especially those who prefer their humor with a little more bite to it. But the combination of a talented cast and solid fundamentals makes Three Amigos well worth trying. For the wrong viewer, it’s a mildly amusing watch that will never click. For the right one, it can be a hidden gem.

For a sci-fi comedy with a similar premise and tone, try Galaxy Quest. For a raunchier Western coemdy with similar charm, try Blazing Saddles. For a classic comedy about a case of mistaken identity, try The Inspector General. For a comedy that does something similar with the spy genre, try The Man Who Knew Too Little.

6.5 out of 10 on IMDB. I give it a 7.0 for simple, feel-good comedy.

Today’s quick review: The Musketeer. To avenge the murder of his parents at the hands of Febre (Tim Roth), D’Artagnan (Justin Chambers) has trained his whole life to become a Musketeer, one of the legendary bodyguards to the King. But when he finally goes to join them, he finds the Musketeers disbanded by Cardinal Richelieu (Stephen Rea) and must rally the dispirited soldiers to stop the Cardinal’s machinations and prevent a war with England.

The Musketeer is an action adventure based on The Three Musketeers, by Alexandre Dumas. The Musketeer puts D’Artagnan front and center, chronicling the bold youth’s adventures as he confronts Febre, courts Francesca (Mena Suvari), and wins the friendship of Athos (Jan Gregor Kremp), Porthos (Steve Speirs), and Aramis (Nick Moran). The shift in focus makes The Musketeer an interesting watch but comes at the cost of the story’s fundamentals.

The Musketeer elevates D’Artagnan to the foreground and takes Febre with him, changing the dynamic of the story considerably. The film keeps the same broad strokes as the familiar tale, but the particulars serve to highlight the prowess of its hero and the cruelty of its villain. The changes are a mixed bag, leading to a sharper conflict and an increased role for D’Artagnan at the cost of development for the Three Musketeers and the Cardinal.

The consequences of the shift are far-reaching. Athos, Porthos, and Aramis have minimal in the way of individual character and barely spend enough time with D’Artagnan to build up a rapport. Cardinal Richelieu is thrust into a passive role, forced to watch as the events he set in motion spin out of control. For his part, D’Artagnan is more brash and less noble, a hyper-competent upstart without much to learn from the Musketeers.

The Musketeer’s other notable feature is its action. The movie takes its stunts a step further than the typical swashbuckling adventure, opting for acrobatic feats and swirling swordplay rather than the traditional feats of fencing. This does serve to juice up the action, and a few of the fights are quite creative. But the effect is diminished by the film’s muted color palette, which keeps the stunts from popping the way they should.

Watch The Musketeer if you’re interested in a new take on the classic story, or if you’re simply in the mood for an action adventure with a bit of bite. The movie sacrifices much of the charm and camaraderie that its source material has to offer in exchange for upgraded action and a clearer focus on D’Artagnan. Whether the exchange is worth it will come down to taste: action fans may enjoy it, but adventure fans may want to steer clear.

For another action adventure that combines a historical French setting with high-flying stunts, try The Brotherhood of the Wolf. For a more earnest, spirited take on the material, try The Three Musketeers, starring Kiefer Sutherland, Oliver Platt, and Charlie Sheen.

4.8 out of 10 on IMDB. I give it a 6.5 for decent action and a focused plot, held back by a weak supporting cast and a lack of heart.

Today’s quick review: The Three Musketeers. Hoping to become a Musketeer like his late father, D’Artagnan (Chris O’Donnell) sets off for Paris to offer his sword to the King. But when Cardinal Richelieu (Tim Curry) disbands the Musketeers as part of a plot to claim the throne, D’Artagnan joins three of the remaining Musketeers—Athos (Kiefer Sutherland), Porthos (Oliver Platt), and Aramis (Charlie Sheen)—to stop the Cardinal and save the King.

The Three Musketeers is an action adventure based on the novel by Alexandre Dumas. The Three Musketeers is an energetic, streamlined adaptation of its source material. Brisk pacing, a breezy tone, and a time-tested plot all contribute to an enjoyable watch, while a balanced cast and swashbuckling action round out the film quite nicely. However, not all viewers will appreciate the film’s simplicity or the way it sidesteps any heavy drama.

The Three Musketeers sticks with the basics of the adventure genre and executes them well. The plot has clear conflicts for the characters to deal with, unambiguous heroes and villains, and pacing that never lets up for long. It is also stitched together with plenty of action. None of the stunts are jaw-dropping, but they are well-suited to the needs of the film, keeping the excitement level up and showing off the Musketeers’ courage.

The Three Musketeers also benefits from a well-rounded cast. The Musketeers themselves have distinctive personalities, drawn in quick, easy strokes that never distract from the main plot. The villains fare just as well, with Tim Curry making for a suitably diabolical Cardinal Richelieu, while Michael Wincott makes for a quietly menacing Captain Rochefort. More to the point, the cast fits well together, with no one character stealing the show.

The strengths of The Three Musketeers also define its weaknesses. The movie is a fairly straight adaptation that will not appeal to those looking for realism or subversive twists. Nearly all of its appeal comes from old-fashioned adventure and classic action, meaning those who are in it for raw spectacle may be disappointed. Finally, the movie does aim to be family-friendly, leading to a tone that skews just a bit too late in certain places.

The Three Musketeers is worth a watch if you’re a fan of the adventure genre for its own sake. Though the movie holds few real surprises, its cast, consistency, and earnest love for its source material make it a fulfilling watch. Those who appreciate what the genre has to offer will find it to be a simple classic. Those looking for gritty historical fiction, all-out action, or a fresh take on the story will want to steer clear.

For another high-quality adaptation of a novel by Alexandre Dumas, try The Count of Monte Cristo. For one that’s less even but has much of the same charm, try The Man in the Iron Mask. For a Western that wears its heart on its sleeve in the same way, try Tombstone. For a swashbuckling, tongue-in-cheek musical comedy, try The Pirates of Penzance. For a more stylized action adventure, try The Adventures of Tintin.

6.4 out of 10 on IMDB. I give it a 7.0 for pure adventure.