Donnie Fritts Movies

Country music greats Kris Kristofferson, Merle Haggard, Ronnie Hawkins, and Donnie Fritts all gather to remember the bumbling semi-legend who put a small dent in the charts before suffering an untimely death in this musical mockumentary from director Michael Mabbott. He was the would-be outlaw of the 1970s country music scene, but somewhere along the line it all fell apart for Guy Terrifico (The Flashing Lights and The Superfriends front-man Matt Murphy). Perhaps it was his self-destructive impulses that did him in, or maybe just his inability to remain upright while ascending a simple flight of stairs. Though Terrifico may have never made it into the Grand Ole Opry, he still had a healthy fanbase that remains staunchly loyal three decades after his alleged death. Now, for the first time ever, the remarkable story of Terrifico's rise and fall comes to the screen in a tell-all film that doesn't flinch when it comes to the ugly truth. ~ Jason Buchanan, Rovi

A former friend betrays a legendary outlaw in Sam Peckinpah's final Western. Holed up in Fort Sumner with his gang between cattle rustlings, Billy the Kid (Kris Kristofferson) ignores the advice of comrade-turned-lawman Pat Garrett (James Coburn) to escape to Mexico, and he winds up in jail in Lincoln, New Mexico. After Billy theatrically escapes, inspiring enigmatic Lincoln resident Alias (Bob Dylan) to join him, the governor (Jason Robards Jr.) and cattle baron Chisum (Barry Sullivan) requisition Garrett to form a posse and hunt him down. Rather than flee to Mexico when he can, Billy heads back to Fort Sumner, meeting his final destiny at the hands of his friend Pat, who, two decades later, is forced to face the consequences of his own Faustian pact with progress. With a script by Rudolph Wurlitzer, Peckinpah uses the historical basis of Billy's death to eulogize the West dreamily yet violently as it is desecrated by corrupt capitalists. Both Pat and Billy know that their time is passing, as surely as Garrett's posse knows that they are participating in a legend. Using familiar Western players like Slim Pickens and Katy Jurado, Peckinpah underscores the West's existence as a media myth, and he even appears himself as a coffin maker. Just as the bloodletting of Peckinpah's earlier The Wild Bunch (1969) invoked the Vietnam War, the casting of Kristofferson and Dylan alluded to the chaotic late '60s/early '70s present; the counterculture has little place in a corporate future. Also like The Wild Bunch, Pat Garrett was truncated by its studio; the cuts did nothing to help its box office. Key scenes, particularly the framing story of Garrett's fate, have since been restored to the home-video version. In this director's cut, Pat Garrett and Billy the Kid stands as one of Peckinpah's most beautiful and complex films, killing the Western myth even as he salutes it. ~ Lucia Bozzola, Rovi