Tomas Blanco Movies

This spaghetti western presents an honest version of the legendary exploits of Pat Garrett and Billy the Kid. The two legends grew up together and were best friends. Billy became the outlaw, and Pat, became the lawman assigned to hunt him down. Pat eventually caught the Kid and tried to persuade him to go straight. He failed and Billy was shot by a rival. (The real Pat Garrett did shoot him.) Unfortunately, the incident ruined Garrett's good name for he was charged with the crime. ~ Sandra Brennan, Rovi

In this Italian sci-fi adventure former wrestler Superargo squeezes into his bullet-proof tights and takes on the villainous scientist who has been abducting prominent athletes and replacing their real hearts with mechanical ones so he can control them and take over the world. ~ Sandra Brennan, Rovi

This pulse-pounding follow-up to Sergio Leone's A Fistful of Dollars brings back Clint Eastwood as the serape-clad, cigar-chewing "Man With No Name." Engaged in an ongoing battle with bounty hunter Col. Douglas Mortimer (Lee Van Cleef), the Man joins forces with his enemy to capture homicidal bandit Indio (Gian Maria Volontè). Both the Eastwood and Van Cleef characters are given understandable motivations for their bloodletting tendencies, something that was lacking in A Fistful of Dollars. In both films, however, the violence is raw and uninhibited -- and in many ways, curiously poetic. Leone's tense, tight close-ups, pregnant pauses, and significant silences have since been absorbed into the standard spaghetti Western lexicon; likewise, Ennio Morricone's haunting musical score has been endlessly imitated and parodied. For a Few Dollars More was originally titled Per Qualche Dollaro in Più; it would be followed by the last and best of the Man with No Name trilogy, The Good, the Bad and the Ugly. ~ Hal Erickson, Rovi

Also released as Valley of the Swords, this lugubrious US/Spanish co-production features the usual mid-1960s "tax shelter" international cast. Broderick Crawford plays a despotic 10th century Spanish king who, in cahoots with the invading Moors, has banished handsome Castilian nobleman Spartaco Santoni. With the surreptitious aid of Crawford's daughter Teresa Velasquez, Santoni assembles an army to march against the Moors. In keeping with the 13th century epic poem from which this film was derived ("El Poema de Fernan Gonzales") Santoni's path is smoothed by the celestial intervention of patron saints Milan and Santiago. Among the big names picking up a few tax-free dollars in The Castilian are Cesar Romero, Linda Darnell, Alida Valli and Fernando Rey. ~ Hal Erickson, Rovi

In this drama, a widowed duchess finds herself drawn to leader of a mercenary band. The cavalier leader offers to save her from her avaricious, land-grabbing neighbor, but then suddenly goes to work for him when the neighbor pays a hire price. This enrages the duchess, but fortunately, he comes back when he rescues a bride whose wedding has been invaded by the evil neighbor. ~ Sandra Brennan, Rovi

Released not long before a much more spectacular Cleopatra came along to make Elizabeth Taylor even more famous, this routine drama by Vittorio Cottafavi, a director who favors historical epics, is no competition. The prelude to Cleopatra's demise is the main focus of attention, but in this drama Mark Antony's presence is usurped by the Roman envoy Curridius (Ettore Manni). Curridius travels all the way from Rome to warn Antony that the powers-that-be are not thrilled with his behavior. Along the way, he faces one danger after another and then encounters Cleopatra (Linda Cristal) to make it all seem worth the effort. Gladiators in combat, underwater fights, and other impressive action scenes enliven the story. ~ Eleanor Mannikka, Rovi

Per its title, Faustina is a distaff variation on the Faust legend. In this case, Mexican film favorite Maria Felix plays a woman who sells her soul to the Devil in exchange for beauty and wisdom. Actually, she bargains with the Devil's assistant (Fernando Gomez), who happens to be one of the woman's former lovers. The would-be demon spends the rest of the film trying to thwart the poor woman's happiness, but eventually declares that he's still in love with her. Not to be taken seriously, Faustina was an enjoyable digression from the usual portentous fare at the 1957 Cannes Film Festival. ~ Hal Erickson, Rovi