An all-black inner city school has to become an integrated school. Few dozen white kids are transfered there, but the black students are aggressively opposed to this. The school then approaches a tough black teacher for help.
Two rustic families, headed by patriarchs Laban Feather and Pap Gutshall, are feuding. At first, it is comical, with just the sons of the two families playing tricks on each other. But soon... See full summary »
Lewis Tater writes Wild West dime novels and dreams of actually becoming a cowboy. When he goes west to find his dream he finds himself in possession of the loot box of two crooks who tried... See full summary »
A group of naive boys find that life as desperadoes in the west is more serious that they understood when they embark on abortive careers in bushwhacking. Violence, betrayal, sombre colours and a Beckettsian whimsy mark this ironic western. Written by
Keith Loh <firstname.lastname@example.org>
The classic rock band Bad Company named itself after this film. When Paul Rodgers (ex-Free) formed a band with Mick Ralphs (ex Mott the Hoople) in 1973, the first public warm up gigs were in Germany. Just prior to the gig they saw the film. When asked what the band was called, they remembered the poster, and adopted the name. See more »
Jake praises Loney for suggesting they rob the stagecoach, but it is his brother Jim Bob who made the comment. See more »
Damn, Jackson, I wouldn't mind you being so stupid if you was good company, but you ain't even that!
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In giving this an 8/10 rating, that goes into the top 7% or so of about 2500 movies I've viewed so far. Indeed, it falls right into that category of "one of the great films you most likely haven't seen." Why movies like this go unrecognized like they have is beyond me. If you've seen it, you already know what I'm talking about, so I wonder if I'm preaching to the converted here. I doubt I have much to say beyond what any other reviewers have already covered. This is a gritty and real, and yet also romanticized, take on the Western, beautifully shot (by DP Gordon Willis of the Godfather movies - enough said) and littered with dark comedy, not of the laugh-out-loud variety, but of the "these guys are so sad" variety. It also happens to be the second movie I've seen with both Jeff Bridges and David Huddleston, some 25 or so years prior to an actualized cult classic. The combination of these two actors in a film, appearing together in scenes only briefly, seems somehow, inexplicably, to touch a film with a certain genius.
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