Boone (John Hennigan) is a hot dog TV bounty hunter going after guys like Kevin Sorbo for a parking ticket. His ratings plummet as the audience actually grows tired of his staged antics. With one last show left in the season, Boone calls in a favor from the DEA, and decides to do some real bounty hunting, going to Vallecitos, Mexico to retrieve the son of a drug lord who skipped bail. The town and its police force are owned by the drug lord.This is an action film for tweens and young teens. It has cleavage, a cat fight, and a tipped port-o-let with someone in it...all the things an 11 year old male would love. The plot is straight forward without twists. People get killed and beat up, but most of that kind of violence takes place off camera. Hennigan's style of fighting is similar to parkour antics, again something for the kids. Mindless action and fun.No swearing, sex, or nudity. Full women in small bikinis.
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The western was very much a staple diet of American cinema . It's a genre that wasn't really popular with critics but was popular with the general public both sides of the Atlantic probably to do with the romantic ideals and values of the good guy always defeating the bad guy in a straight fight . Along comes Sam Peckinpah and turns the genre on its head It's important to realise what was happening when THE WILD BUNCH was being produced . The Hollywood studio system had given way to " The New Hollywood " where the director was given sole creative control while The Hays Code strictly forbidding on screen sex and violence had given way to a certification system widening moral ambiguity and explicit adult themes . Director Sam Peckinpah stampedes through these new found artistic freedoms The film gets off to a shocking opening and there's very much an influence of Eisenstein at play . As there's little internal logic to a woman remonstrating with Czarist troops in BATTLESHIP POTEMKIN there's equally little logic to the temperance society members continually walking in to the crossfire between the outlaws and the bounty hunters in a gun battle lasting four minutes . The emotional impact of the scene takes preference over logic and even today this remains a potent scene Much of this is down to the editing . No other colour film before it contained so much rapid cross cutting editing . Many scenes - most notably the bloody shoot out ending contain a shot length of less than one second . American film theorist David Bordwell calculated at the end of the century the average shot length was three to six seconds while it was becoming slightly longer , so for a film released in 1969 this type of fast paced editing style is absolutely phenomenal Peckinpah was a master of dubious morality and THE WILD BUNCH contains the theme of this amorality . The outlaws are desperate men but they have their own moral codes . When one of the outlaws wants to dispatch old timer Sykes anti-hero Pike Bishop self righteously dictates when you ride with a man it's for keeps , and the outlaws find a mortal redemption when they sacrifice their lives as an act of revenge for the execution of Angel The legacy of THE WILD BUNCH is that it effective destroyed the traditional western . Afterwards there were only revisionary westerns such as LITTLE BIG MAN and DANCES WITH WOLVES and anti westerns such as McCABE AND MRS MILLER and THE CULPEPPER CATTLE CO being produced but never again would the western be a long term prolific production . That's what you call radical
This is a very long Western about a group of criminals during the years leading up to America's entry into WWI. These criminals, led by William Holden, were selfish and greedy and in an effort to catch them, bodies and blood were shed on an unheard of scale in this Sam Peckinpah directed film. Technically speaking, aside from some very over-indulgent scenes (I hated all the slow-motion stuff and the scorpion scene--the imagery was far from subtle), this is a very well-made film. The acting is excellent, the script very familiar (much like the earlier film, THE PROFESSIONALS) but new enough to make it stand out from other Westerns and it was exciting.So, why, with so much to recommend it and a very high score on IMDb do I wish to never watch more Westerns like it?! Well, the film was so freaking Nihilistic and violent. In this film, there were no heroes--none. The railroad authorities (in the form of Albert Dekker) were not the good guys--they could have cared less about all the innocent civilians who were slaughtered. As for Robert Ryan and his band of bounty hunters....well, they were scum and seemed much like evil versions of "Larry, Darryl and Darryl" from the Newhart Show. The Wild Bunch itself, all murderers who supposedly redeem themselves in the end, but this end seemed more like a pointless job of butchery and not an act of justice. The American Army,...they were just there to look stupid and be killed. And, perhaps, Pancho Villa's troops were the closest thing to heroes in the film, though you never really learned about their cause or that the real-life Villa was a cut-throat and vicious killer. Never before this movie had there been a film so jam-packed full of worthless and vile people. Now in a way, doing such a film isn't a bad idea--after all, the utter futility of it all is a big message you are left with when the film is complete. But Peckinpah's twisted vision of the West also led to other more modern films where it seems that entertainment is watching others die and heroes, as we've come to know them, are non-existent. As for me, in the long run, I could have lived without this well-made but unfortunately oft-copied film. Give me some heroes instead.
SCORCHED EARTH is another B-movie action flick. The setting is a science fiction one, with a small cast of characters struggling to survive in a derelict world following an unspecified apocalypse, but the story and trappings are straight from a western. Gina Carano plays a bounty hunter on the trail of some very bad men, but for a large chunk of the running time she goes undercover and works WITH them to achieve her aims. Truth be told, the story isn't up to much and neither is Carano's acting; the only likeable performance comes from the reliable John Hannah, cast as the grizzled old-timer. The film is punctuated by moments of violence which are rather bloody, but the end result is average rather than great.
After an acceleration in climate change, the earth becomes desolate as clean air and water are scarce. Silver lined dust masks are worn to filter the air (not the best science) and water purification pills are the new currency. The action takes place out west in "New Montana." People who burn fossil fuels are the bad guys and have a bounty on them. Fast and Furious Gage (Gina Carano) is a bounty hunter who eventually goes after Jackson (Ryan Robbins) who runs the town "Defiant". This is a western style apocalypse type of film complete with cowboy hats and bad dialogue. Not the best film in the genre, but watchable. Guide: F-word. No sex or nudity
Several years ago, I watched Gina Carano in the film "In the Blood" and was mesmerized. While much of the film was okay, Carano was simply amazing. Her fighting skills were top-notch and as a result, a humdrum film was lifted to a higher level...and I looked forward to seeing her other films. Sadly, apart from a few nice appearances, often she seemed to land in cheap, inferior films....with inferior scripts. It's a shame, as she is magnetic on the screen...but with films like "Scorched Earth", you lose so much because there's a limit to how much her skills can help a movie that is so unenjoyable to watch.The story is set in the late 21st century. We learn from the prologue that everything sucks. The Earth has mostly been destroyed by a massive change in the weather and the few remaining folks live in filth and are either scum or waiting to be taken advantage of by scum. As for Carano, she plays a rather amoral bounty hunter who would just as soon bring in her clients dead than alive.The film is grim, unrelentingly grubby and unpleasant. The dialog doesn't help at all and I must admit that after watching more of the film I just turned it off. After all, if I wasn't enjoying any of it...what's the point?!By the way, in addition to not liking the film, I didn't appreciate that the film had no captioning at all...making it a movie deaf and hard of hearing people cannot watch. Which, now that I think about it, isn't all that bad.
There's a great DVD set put out by St. Clair Vision that offers nine films, appropriately titled "Spaghetti Westerns", and fairly oozing garlic oil and marinara. If you're only familiar with the Clint Eastwood 'Man With No Name' films, you'll be intrigued and entertained by the offerings here, among them "The Grand Duel". Lee Van Cleef stars doing what he does best, as a calm lawman on the outside with a seething vengeance on the inside. His character is a former marshal, but you're never really sure about that until he produces a star, and even then it's questionable.The only other Western I can think of that offers a homosexual character is "Little Big Man", and in that picture it was an Indian. Here, one of the Saxon Brothers is an overtly limp wristed, white suited desperado with a silk scarf for added effect. The fact that he's a ruthless gunman is almost beside the fact, his pock marked face is worthy of a seamy horror flick.The three Saxon Brothers are out to avenge the death of their father, and numerous flashback sequences that offer the darkened outline of the killer point to only one person, and yet when Sheriff Clayton (Van Cleef) reveals it was himself, it almost comes as a surprise. The Saxon's had fingered rival Philip Wermeer (Peter O'Brien) for the murder of the Patriarch; Wermeer's own father in turn had been murdered over his ownership of a silver claim. Early in the story, it appears that Clayton's quarry is Wermeer, until they team up following the apparent killing of Wermeer by bounty hunters - neat twist! If you're used to the Eastwood style of the genre, you might find the circus type acrobatics of "The Grand Duel" to be somewhat off base, but it seems to be standard fare in some of the other films on the collection I mentioned earlier. Here it's Philip who entertains with some improbable flying maneuvers, but it does make for highly innovative action sequences.Also pretty clever was the game of checkers at the Saxon City saloon. Played with glasses of whiskey, it seemed to me that the winner would be the guy who got drunk first; after all, you had to down your shot after jumping the opposition.I would swear I'd heard portions of the musical score in another film, it's so provocative you find yourself actually anticipating some it. There's a definite Ennio Marricone influence, though here it's provided by Sergio Bardotti and Luis Bacalov. Quite definitely another reason to tune in."The Grand Duel" is definitely one to sample, coming out near the end of the Eurowest cycle. Be prepared for marshals in business suits and the not so subtle portrayal of a gay bad guy, but also keep an eye out for the new patriarch David Saxon sporting the same dimple in the middle of his chin as the portrait of his father hanging on a wall. If that weren't enough, I'd say the bartender at the Saxon saloon was one gay caballero too! 2ff7e9595c
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