A commando unit is dropped behind the German lines in Italy and its mission is to blow up a strategic dam. However, the unit is ambushed and only its leader survives. He is picked up by a ... See full summary »
A scientist doing experiments on a human fetus discovers a method to accelerate the fetus into a mature adult in just a few days. However, the "adult" fetus turns into a homicidal psycho ... See full summary »
The Louisiana wedding of debutante Phoebe Ann Naylor to Don Andrea de Baldasar, El Duce de la Casala is stopped by the Cavalry over a matter of honor. Don Andrea flees across the river to ... See full summary »
During an evacuation in the waning days of the Korean War, three American soldiers retrieve an enemy airman and take him prisoner aboard the civilian ship returning them to their lines. ... See full summary »
Robert Walker Jr.,
Billy's extra gun at the gunfight at the creek starts off as a single-action blue steel Colt Bisley, recognizable for the distinctive shape of its grip frame, and turns into a nickel-plated double action revolver when he crawls out to the log. See more »
Well, maybe you better get down to Wilson's office. He's waiting on you.
Oh, no hurry. He'll take ten minutes talking about how the President appointed him to bring law and order to this lawless community.
Yeah. You'd think he'd save some of that breath for breathing.
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Strictly a been-there-done-that western...the actors look as bored as viewers are likely to be
Director George Seaton's last film, an inert, tepid western about childhood pals and one-time cattle-ranch partners Dean Martin and Rock Hudson winding up on divergent paths: Martin joins a small gang of outlaws and robs a train near Bisbee while Hudson becomes sheriff of the neighboring community. Formula drama without any hint of suspense or even wayward humor. As soon as the crooked foursome robs the train, they split up over greed (with Dino taking control of the loot); Hudson hears about the robbery and immediately takes off on his horse, only to end up at his office sitting behind a desk. Nothing in Theodore Taylor's screenplay seems fresh or well thought out, and most of the dialogue is downright atrocious ("That hold-up was as slick as spit on a round doorknob!"). Hudson gives a little more energy than enervated Martin, but all in the cast seem to realize this is fatigued material. David Shire's score is a minor asset. *1/2 from ****
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