John Mitchum Movies

This cut-rate horror anthology is packaged in a TV-series format, lacking even the most rudimentary production values and enhanced only slightly by the brief narrative presence of Vincent Price, who appears in a linking story as a sinister postman who delivers the stories on videocassette to an unwary young couch-potato. The tales involve a fisherman ensnared by his own line, a delivery boy trapped in an endless time-loop in a woodland town, a jogger pursued by mischievous forest monsters, an old scavenger who chances across a crashed alien craft, and a two-bit thief who steals a magical wishing stone. These vignettes run the gamut from tedious to downright silly, bogged down by mealy-mouthed moralizing and childish humor; viewers should be grateful that only five are presented instead of the ten chapters erroneously suggested in the prologue. ~ Cavett Binion, Rovi

Don Siegel took over the directing chores from Peter Hyams on this taut cold war action film, based on the novel by Walter Wager. With the cold war between the United States and the Soviet Union thawing, old KGB hard-liner Nicolai Dalchimsky (Donald Pleasence) activates a group of Americans who were brainwashed twenty years earlier to blow up United States defenses when a passage from a Robert Frost poem is recited to them. When bombs go off at an abandoned United States defense installation, the Kremlin realizes that they have a rogue KGB agent on their hands who is trying to re-ignite the cold war. To stop him, the Russians send out KGB agent Grigori Borzov (Charles Bronson). Accompanying him is KGB double agent Barbara (Lee Remick). As the two agents try to stop Nicolai from starting World War III, they find time to fall in love with each other. ~ Paul Brenner, Rovi

The rugged world of those who built the Alaskan pipeline provides the backdrop for this drama featuring the non-singing film debut of soul-singer Gladys Knight (she and her Pips do sing on the soundtrack though). The story centers on her attempts to regain the love of her estranged husband who works up there. She goes to the wild, wooly town where he is based. There women are hard to find, and those who are there make big bucks selling themselves to lonely workers. Knight is a pretty woman so it doesn't take long for the man who runs the town to try and convince her into becoming a high--priced whore. She refuses and eventually achieves her original goal. ~ Sandra Brennan, Rovi

Clint Eastwood's fifth film as a director and eighth Western as a star (ninth if you count Paint Your Wagon), The Outlaw Josey Wales chronicles the hero's violent journey westward after the Civil War. With fresh memoris of his family's slaughter by Red Leg soldier Terrill (Bill McKinney), Confederate Josey Wales (Eastwood) refuses to join his captain Fletcher (John Vernon) and the rest of his comrades in surrender to a U.S. Army regiment. Deemed a dangerous outlaw after a bloody one-man battle with that regiment, Josey is pursued by U.S. cavalry soldiers led by the unwilling Fletcher and the murderous Terrill, as well as by bounty hunters who eventually learn how coolly lethal Wales can be. Despite his desire to remain a lone fugitive, Josey soon has a crew of travelling companions that includes Cherokee Lone Watie (Chief Dan George) and the pretty Laura Lee (Sondra Locke) and her vigorous Grandma Sarah (Paula Trueman), settlers on their way to a ranch near ghost town Santa Rio. The few Santa Rio residents welcome the group, but their peace and Josey's burgeoning romance with Laura Lee are soon interrupted by Terrill's arrival. A skillfully violent man of few, well-chosen words, Josey Wales resembles Eastwood's previous Western heroes in Sergio Leone's trilogy, A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad, and the Ugly (1966). However, the emphasis on friends and family served notice that, in the words of one critic, "the Man With No Name doesn't live here anymore." Indeed, Josey Wales would be Eastwood's last western before 1985's Pale Rider. Although it did not garner similar critical praise when it was released, Eastwood considers The Outlaw Josey Wales to be the equal of the Oscar-winning Unforgiven (1992). ~ Lucia Bozzola, Rovi

Posing as a fugitive from justice, frontier undercover agent John Deakin (Charles Bronson) boards a train to go after a ruthless gang of outlaws. Ingredients essential to the action include an anti-military conspiracy involving gunrunners and Indians, a phony epidemic, and a down-and-dirty traintop fight between Deakin and Carlos (boxer-turned-actor Archie Moore). Breakheart Pass was adapted for the screen by Alistair MacLean from his own novel. ~ Hal Erickson, Rovi

Steve Forrest, in his last starring role before moving permanently to series television with S.W.A.T., plays James Devlin, a once-notorious gunman who is wrongfully convicted of murder and sentenced to death. Through an accident -- though the priest Father Alvaro (Rafael Campos) insists it was divine intervention -- he survives the hanging, barely, and is set free, a death certificate having been duly and lawfully issued by the doctor (William Bryant) who examined the "body." A near walking corpse, with an odd, dark fire in his eyes and a strangely low body temperature and heartbeat, Devlin doesn't know what to do with the rest of his life, however long that may be -- he's got enemies still walking around who would like to finish the job, and neither the doctor nor the priest can tell him how long he might live. Having already reformed before he was convicted, he goes the rest of the way and decides to spend what time he's been given, and use the skills he still has as a gunman and soldier of fortune, on the side of the angels, helping people who need it. He quickly finds himself up to his neck in a deadly land war between an ambitious mining tycoon (Cameron Mitchell) and a young widow (Sharon Acker) for the property she owns. ~ Bruce Eder, Rovi

"Who are you?" the dwarf Mordecai (Billy Curtis) asks Clint Eastwood's Stranger at the end of Eastwood's 1973 western High Plains Drifter. "You know," he replies, before vanishing into the desert heat waves near California's Mono Lake. Adapting the amorally enigmatic and violent Man With No Name persona from his films with Sergio Leone, Eastwood's second film as director begins as his drifter emerges from that heat haze and rides into the odd lakefront settlement of Lago. Lago's residents are not particularly friendly, but once the Stranger shows his skills as a gunfighter, they beg him to defend them against a group of outlaws (led by Eastwood regular Geoffrey Lewis) who have a score to settle with the town. He agrees to train them in self-defense, but Mordecai and innkeeper's wife Sarah Belding (Verna Bloom) soon suspect that the Stranger has another, more personal agenda. By the time the Stranger makes the corrupt community paint their town red and re-name it "Hell," it is clear that he is not just another gunslinger. With its fragmented flashbacks and bizarre, austere locations, High Plains Drifter's stylistic eccentricity lends an air of unsettling eeriness to its revenge story, adding an uncanny slant to Eastwood's antiheroic westerner. Seminal western hero John Wayne was so offended by Eastwood's harshly revisionist view of a frontier town that he wrote to Eastwood, objecting that this was not what the spirit of the West was all about. Eastwood's audience, however, was not so put off, and an exhibitors' poll named Eastwood a top box-office draw for 1973. ~ Lucia Bozzola, Rovi

This campy oddity -- featuring John Carradine in one of his patented walk-on roles -- pits some silly facsimile of a motorcycle gang against an even sillier stuntman in a deep-pile shag suit who is supposed to be the legendary humanoid lurker of the Northwestern wilderness. It seems Bigfoot has developed an understandable liking for buxom human females (including Joy Lansing and one-time Russ Meyer regular Haji), whom he abducts and carries off to his scenic woodland retreat and ties to ridiculously scrawny trees. Apparently the bike boys are jealous -- abducting curvaceous cuties is also a favorite pastime of theirs -- and they embark on an uncoordinated rescue mission. Predating mid-'70s Bigfoot-mania (sparked by the famous home-movie sightings), this goofy outing is probably more entertaining than Legend of Boggy Creek and a dozen other "serious" pseudo-documentaries on the subject. ~ Cavett Binion, Rovi

In this murder mystery, a private investigator falls for the former mistress of a racketeer who is slated to be a witness for the state. He is supposed to be quietly guarding her. ~ Sandra Brennan, Rovi

Helen Hayes, Mildred Natwick, Myrna Loy and Sylvia Sidney star as four elderly pranksters devoted to practical jokes. When one of the ladies gets hold of a computer-dating questionnaire, the others invent a mythical girl and feed the falsified information into the computer. Alas, the description matches a very real young lady, who becomes the target of a murderous rapist (Vince Edwards). Attacked at the time of its release for making light of a potentially deadly situation, Do Not Fold, Spindle or Mutilate led to the casting of Helen Hayes and Mildred Natwick in the weekly detective series The Snoop Sisters. ~ Hal Erickson, Rovi

After coming across a corpse stuffed in a sack and deposited in a park, Sgt. Ed Brown (Don Galloway) notifies the homicide division. When the cops arrive, the sack is still there--but the corpse is gone. Embarrassed by the taunts of rival cop Larry Muller (Warren Berlinger), Ed dedicates himself to proving that the body really existed, even though Ironside (Raymond Burr) demands that he devote his attention to a kidnapping case. Inevitably, it turns out that both cases share a common link. ~ Hal Erickson, Rovi

Officers Pete Malloy (Martin Milner) and Jim Reed (Kent McCord) try to break up a gang of auto thieves who use pretty, miniskirted girls as decoys for unwary male drivers. Elsewhere, the two cops are summoned to a teenage pot party (this is, after all, a Jack Webb) production. And in another incident, Jim and Pete rescue a mugger from an angry old lady (Hope Summers) who turns the tables on the "perp" and beats him up. Former Leave It to Beaver costar Tony Dow has a sizeable supporting role in this episode. ~ Hal Erickson, Rovi