The show follows a crime, usually adapted from current headlines, from two separate vantage points. The first half of the show concentrates on the investigation of the crime by the police, the second half follows the prosecution of the crime in court.
Jesse L. Martin,
Having cleaned up Tombstone, marshal Frame Johnson quits after an attempted lynching, and hopes to settle down on a ranch near Cottonwood with his sweetheart Jeannie. Before he can do so, it looks like he may have to clean up Cottonwood too. But how great a sacrifice will he make for law and order? Written by
Rod Crawford <email@example.com>
This is resoundingly bad. The script and supporting cast are plainly stupid - this in isolation could be tolerated; but the stupidity extends to the inability to tell much of a story through visual perspective, so both of its legs are shot out from under it.
There's no attempt to break new ground, it's all about affirming the "men are men, women are sex objects" motif.
Reagan himself actually does the best work here -- knowing he has to play it straight, but he always manages to slip in his trademark wink at the audience.
Foster's prosthetic hand would later be recycled for Nicholas Cage in "Moonstruck".
The fistfight at the end between Reagan and Foster is well composed, using a vocabulary heavily borrowed from in later action films, notably the image of the hero who's about to have his face impaled on a prong ("Cobra", among many others).
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