Steve Reevis Movies

Executive produced by Steven Spielberg, the sprawling six-part, 12-hour TV miniseries Into the West covers 65 years of American history, from the first major migration westward in the mid-1820s to the massacre at Wounded Knee in the early 1890s. The story is largely seen through the eyes of two protagonists (and their families): Jacob Wheeler (Matthew Settle), a wheelwright who leaves his Virginia hometown and his family's business in 1827 to seek his destiny in the company of legendary mountain man Jedediah Smith (Josh Brolin); and Loved by the Buffalo (George Leach), a Lakota Sioux holy man who spends a lifetime seeking the answers to his profound and disturbing images about the future of his country -- and his people. Eschewing the usual "old-age makeup" route often pursued in epic tales of this nature, the main characters are played by progressively older actors in the course of the story: for example, Loved by the Buffalo is portrayed by no fewer than four different performers! In a more traditionalist How the West Was Won vein, the miniseries is festooned with major stars, some cast in very brief roles: among these are Josh Brolin, Keri Russell, Matthew Modine, Beau Bridges, Gary Busey, Tom Berenger, and Judge Reinhold. Nor is How the West Was Won the only inspiration for the multi-plotted storyline: other films echoed and emulated throughout the saga include The Iron Horse, The Big Trail, Westward the Women, The Searchers, and Dances With Wolves. As mentioned, the story is divided into six parts: "Wheel to the Stars," in which the fates of Jacob Wheeler and Loved by the Buffalo become forever intertwined; "Manifest Destiny," chronicling the first major trek to California; "Dreams & Schemes," wherein the Lakota lands are despoiled by Gold Fever and war breaks out between the North and South; "Hell on Wheels," chronicling the postwar chaos and the coming of the railroad; "Casualties of War," wherein the conflict between Native Americans and the white man results in wholesale bloodshed -- and, surprisingly, a "counter-revolution" of compassion and understanding; and "Ghost Dance," the last great stand of the Lakota, which brings the story full circle. Largely filmed in the Canadian Rockies over a six-month period, and utilizing the talents of six directors, Into the West premiered June 10, 2005, on the TNT cable network. ~ Hal Erickson, Rovi

Novelist Reverge Anselmo makes his directorial debut with this comedy about two inept brothers trying to run the family's ranch. After spending several years in Mexico, P.D. Mitjans (Danny Nucci) returns to the States following the death of his father. He's giving thoughts to the notion of getting the family ranch back on its feet until he sees the mess his brother A.J. (Del Zamora) has made of the place. P.D. decides to give the place a try anyway, and the Mitjans Brothers attempt several schemes to raise cash, all of which prove to be spectacular failures. P.D. still has a reason to stick around, however -- his ex-girlfriend Cat (Dana Delany), who runs the neighborhood watering hole. Unfortunately, Cat has a new boyfriend these days, a cop with a less-than-stable constitution (Paul LeMat). The Outfitters was shown as part of the American Spectrum series at the 1999 Sundance Film Festival. ~ Mark Deming, Rovi

Filmmaking siblings Joel Coen and Ethan Coen both embraced and poked satirical fun at their Minnesotan roots with this comedy-drama-thriller that earned seven Oscar nominations, winning for Best Actress and Best Original Screenplay. Frances McDormand stars as Marge Gunderson, a pregnant police chief whose affable, folksy demeanor masks a whip-smart mind. When a pair of motorists are found slain not far from the corpse of a state trooper, Marge begins piecing together a case involving a pair of dopey would-be kidnappers, Carl (Steve Buscemi) and Gaear (Bergman stock player Peter Stormare). They've been hired by Jerry Lundegaard (William H. Macy), a car salesman under the thumb of his wealthy, overbearing boss and father-in-law, Wade (Harve Presnell). Jerry's raised some money illegally through a petty scam he's run on General Motors and he's about to get caught. When Wade sours a business deal that could save his son-in-law's hide, the desperate Jerry hires Carl and Gaear to kidnap his wife and hold her for ransom. Things go predictably wrong and a series of murders occur, with Marge, waddling along behind her enormous belly and ever-hungering for an all-you-can-eat buffet, hot on the trail of the killers. Although the credits for Fargo state that the film is loosely based on real events, the story is entirely fictional, the claim being just an ironic jibe on the part of the Coens. ~ Karl Williams, Rovi

Maverick writer-director Walter Hill's version of the famous Wild Bill Hickok legend is a dreamscape western that is told entirely in flashback. Hickok's friend Charley Prince (John Hurt) narrates the events of Wild Bill's life while sitting at Bill's graveside. Hickok is played by Jeff Bridges as a mean, high-spirited, but gallant outlaw. He wanders the West, adding to his reputation with some well-chosen gunfights, and he meets up with characters such as Calamity Jane (Ellen Barkin), who becomes his sidekick for a time. After becoming a legend, Hickok signs up for a stint with Buffalo Bill Cody's traveling variety show. Eventually, he falls in love with Susannah Moore (Diane Lane), and his love leads him to tragedy in the town of Deadwood, SD. ~ Michael Betzold, Rovi

Writer, director, and star Mario Van Peebles tried to correct historical misconceptions about African-Americans on the frontier with this action-packed western that's also an homage to spaghetti Westerns. During the Spanish-American War, a squadron of black soldiers led by Jesse Lee (Van Peebles) is assigned a dangerous mission behind enemy lines in Cuba by evil Colonel Graham (Billy Zane). Joined by a white gambler, Little J (Stephen Baldwin), the troupe is to recover a chest of gold. Realizing that Graham will slaughter them once they've relinquished the booty, Lee and his men retrieve the chest, wound Graham, and head for home. Ambushed by Graham in New Orleans, the "posse" heads for Lee's hometown of Freemanville, a frontier settlement of ex-slaves. Years ago, Lee's minister father (Robert Hooks) was murdered there by Klansmen, and the gunslinger wants revenge. There's new trouble brewing in Freemanville, however. Sheriff Bates (Richard Jordan), top lawman in neighboring Cutterville, plans to wipe out Freemanville's citizens and sell their lucrative property to a railroad. Then there's Graham, still on Lee's trail. ~ Karl Williams, Rovi

Val Kilmer delivers what was considered one of 1991's best performances as Jim Morrison in Oliver Stone's hallucinatory bio-pic of the seminal 1960s rock group The Doors. Stone cuts a jagged swath through Morrison's life, starting with a childhood memory where Morrison sees an elderly Indian dying by the roadside. It picks up with Morrison's arrival in California and his assimilation into the Venice Beach culture, followed by his film school days at UCLA; his introduction to his girlfriend Pamela Courson (Meg Ryan); his first encounters with Ray Manzarek (Kyle MacLachlan); and the origin of The Doors -- made up of Manzarek, Robby Kreiger (Frank Whaley), and John Densmore (Kevin Dillon). As the fame of The Doors grows, Morrison's obsession with death increases. The band grows weary of Morrison's missed recording sessions and no-shows at concerts. Morrison, meanwhile, sinks deeper into a drug-induced haze, having mystical sexual encounters with Patricia Kennealy (Kathleen Quinlan), an older rock journalist involved with sadomasochism and witchcraft. ~ Paul Brenner, Rovi

An entertaining hybrid of Amicus-style horror anthology and gritty low-budget western, this first-time effort from writer-director Wayne Coe succeeds where many such genre-bending attempts have failed. The quartet of uneven but well-mounted stories are spun around a desert campfire by grizzled, menacing bounty hunter Morrison (a rousingly hammy James Earl Jones) and wet-behind-the-ears city slicker Farley (Brad Dourif). Morrison starts off with the tale of an Indian tribe's ritual revenge against the drunken cracker who desecrates their sacred burial ground; When Farley seems interested but unfazed, Morrison follows up with the more visceral story of a Good Samaritan who succumbs to temptation while rendering aid to a pregnant woman, leading to a particularly disgusting (though definitely original) demise. Appalled by the storyteller's lack of taste, Farley counters with a down-to-earth morality tale involving a prairie settler's young daughter who witnesses her father's horrifying act of hate, realizing that the man she trusted with her life is a very human breed of monster. Morrison acknowledges his companion's skill but offers another violent story according to his own idiom -- that of a slick gunfighter who gets his comeuppance by his own hand after winning a deadly competition. The stories feature fine acting and direction but are ultimately overshadowed by the engaging framing story and lack much of the dramatic payoff of their earlier British counterparts. ~ Cavett Binion, Rovi