Nun Sara is on the run in Mexico and is saved from cowboys by Hogan, who is preparing for a future mission to capture a French fort. The pair become good friends, but Sara never does tell him the true reason behind her being outlawed.
As the film opens on an Oklahoma farm during the depression, two simultaneous visitors literally hit the Wagoneer home: a ruinous dust storm and a convertible crazily driven by Red, the ... See full summary »
A hard but mediocre cop is assigned to escort a prostitute into custody from Las Vegas to Phoenix, so that she can testify in a mob trial. But a lot of people are literally betting that they won't make it into town alive.
Joe Kidd is a former bounty hunter and all-around tough-guy in the American Southwest. When a band of Mexicans find their U. S. land claims denied and all relevant records destroyed in a courthouse fire, they turn to force of arms. Luis Chama is their charismatic leader, spouting revolutionary rhetoric and demanding land reform. A wealthy landowner with interests in the disputed area, Frank Harlan, decides to settle things his own way. He hires a band of killers and wants Joe Kidd to help them track Chama. Initially, Kidd wants to avoid any involvement, until Chama makes the mistake of stealing Kidd's horses and terrorizing his friends. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
Critics who point out the flaws in Joe Kidd are dead-on. Few A-budget Westerns are as muddled as this scripted mess. Just try to figure out the murky motivations that guide Eastwood's shifting loyalties as he bounces from Duvall to Saxon to the sheriff, or is it the other way around. By film's end, my head was spinning. And just why would Chicano insurgent Saxon entrust his fate to an Anglo judicial system he so clearly despises. Figure that one out too. While through it all Clint gives us his best humorless squint. One thing for sure--he's getting no help from director Sturges who appears to have gone on holiday. Throw in a gratuitous seduction scene that's nearly laughable, a swipe at social conscience replete with phony Mexican accents, an incredibly staged train crash, and the end result is Eastwood's weakest Western. I realize that for many fans, "Eastwood" and "bad Movie" are a contradiction in terms. Nonetheless, the real train wreck here is the movie itself.
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