In 1864, due to frequent Apache raids from Mexico into the US, a Union officer decides to illegally cross the border and destroy the Apache, using a mixed army of Union troops, Confederate POWs, civilian mercenaries and scouts.
The host of an investigative news show is convinced by the CIA that the friends he has invited to a weekend in the country are engaged in a conspiracy that threatens national security in ... See full summary »
It's 1881 in New Mexico, and the times they are a'changing. Pat Garrett, erstwhile travelling companion of the outlaw Billy the Kid has become a sheriff, tasked by cattle interests with ridding the territory of Billy. After Billy escapes, Pat assembles a posse and chases him through the territory, culminating in a final confrontation at Fort Sumner, but is unaware of the full scope of the cattle interests' plans for the New West. Written by
Ed Sutton <firstname.lastname@example.org>
When Cody is lying on a bed, his left arm is over the rifle, with his hand hanging from the bed, and his right hand is leaning on his left shoulder. In the next shot, when Poe touches him, his left hand is holding the rifle and his right hand leaning on the bed. See more »
[Billy and Alamosa prepare to shoot it out]
I don't suppose there's any other way we could work this out? Nah. Well, let's get to it. Ten steps?
Suits me. You count 'em.
You ain't thought of another way, have you?
No, I can't come up with nothing.
Get to it.
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On the surface, a film about the doomed friendship between the two title characters, Pat Garrett and Billy the Kid is really a film about the death of a way of American life. Death is omni-present in this film, and the compelling aspect of it is that so many of the characters are completely prepared to accept it and deal it out. The best and saddest moments in the film involve characters who know they are going to die and accept it. And the performances are all remarkable. Kristofferson's easygoing and charismatic portrayal of Billy is the best work of his career, as is Coburn's sad-eyed interpretation of Pat Garrett. A wonderful film, almost as good as Peckinpah's masterpiece The Wild Bunch.
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