In Apache territory, a supply army column heads for the next fort, an ex-scout searches for the killer of his Indian wife, and a housewife abandons her husband in order to re-join her Apache lover's tribe.
Two brothers, Ben and Clint, join a cattle drive from Texas to Montana. While heading for Texas they save Nella from the Indians, and she decides to ride with them. Ben and Nella start to ... See full summary »
An American army officer, troubled by reports of brutality, volunteers to investigate conditions inside North Korean POW camps. He parachutes behind enemy lines and infiltrates a group of ... See full summary »
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>
Ronald Reagan was known as the Law and Order president due in part to him starring in this film and his political positions. See more »
[The town undertaker, Denver Cahoon, is trying to drum up business]
Where's the Durango Kid?
You mean to say you brought him back alive?
Well, for the time being.
Now, we've been friends for a long time, Frame. But since you cleaned up this town, I can't hardly make a living. How do you expect me to make any money off of him?
Don't worry about it friend, you won't have to wait long.
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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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