A disillusioned reporter, James "Jim" Bronson, quits his job and starts wandering the road on his Harley-Davidson motorcycle as a form of soul-searching. He meets various characters. Some he helps, others he educates.
Diablo is a biker gang leader executed for the murder of a young woman. A year after his death, it's time for Spring Break. Football players Skip and Ronnie head to the beach, where Skip ... See full summary »
Nicolas De Toth,
After outlaw leader Ben Wade is captured in a small town, his gang continue to threaten. Small-time rancher Dan Evans is persuaded to take Wade in secret to the nearest town with a railway ... See full summary »
Amiable, unassertive Scott Mary picks up the trash, cleans the toilets, sweeps the floors in the town of Clifton. Then a gunfighter comes to town. He offers advice and guidance to Scott who... See full summary »
Lee Van Cleef,
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.
Only the names have been changed to protect the not so innocent in this film. Well, actually, it's just the names that give it a tenuous connection to the original Josey Wales starring Clint Eastwood. Sadly, Micheal Parks is no substitute for Eastwood either as actor or director and neither is any of the rest of the cast close to the characters in the first film.
At least you can't accuse anyone of trying to cash in on the original film's success as this was made ten years later. Exactly why they bothered is another question altogether. Filmed very cheaply, a couple of saloons and some outside shooting in a small town make up the locations. With a shootout in the open as the closing finale.
Little spent on the sound recording either or perhaps they were trying for the naturalistic dialogue as done by the likes of Marlon Brando or Mickey Rourke. All of which may be how ordinary people do actually speak in real life but just comes across as mumbling on the big screen.
Apart from the grisly comeuppance of the villain at the end, there is nothing to distinguish this from any of the countless 'oaters' or horse operas of the fifties that were churned out by the film studios of the time.
For dedicated western fans or people with too much time on their hands only.
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