New Shop Movies

Against a Crooked Sky is a remake of John Ford's landmark western The Searchers. Richard Boone appears in the John Wayne role, playing an ageing trapper obsessed with rescuing a white girl from her Indian captors. Another movie veteran, Henry Wilcoxon, is the ruthless yet honorable Indian chief. ~ Hal Erickson, Rovi

John Wayne plays a lawman who has to deal with the problems of fatherhood in a big way in Cahill: United States Marshall. Wayne is J.D. Cahill, whose singular desire to track down law breakers strains his relationship with his two teenage sons --17-year-old Danny (Gary Grimes) and 12-year-old Billy Joe (Clay O'Brien). The film begins as Cahill is hot on the trail of a gang of outlaws. After the big showdown, he returns to town to discover that the local bank has been robbed. The sheriff and the deputy have been killed, and four bank robbers are imprisoned in the jail. He is stunned when he finds out that one of the robbers in jail is Cahill's son Danny. It seems that during Cahill's absence from home, his two sons have been enticed into a criminal life by nefarious outlaw Abe Fraser (George Kennedy). ~ Paul Brenner, 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

This Western presents a fictionalized account of the ways in which the Gatling gun was created. Also chronicled are its tremendous effects on the great frontier. ~ Sandra Brennan, Rovi

Filmed in Flagstaff, Arizona, The Bravos top-bills George Peppard as a frontier cavalry commander. It is Peppard's job to protect his fort, and the wagon train passengers sheltered within, from the 2000 Kiowa Indian warriors who dot the surrounding hills. This being a 1972 TV movie, the Native Americans are "savage" only when provoked. When they abduct Peppard's son Vincent Van Patten, it is in retribution for the death of their own chief's son. The Bravos was the 90-minute pilot film for a never-sold western series. ~ Hal Erickson, Rovi

In one of John Wayne's more interesting late Westerns, "The Duke" plays Will Anderson, a crusty veteran cattleman preparing a 400-mile drive to get a herd of steers to market. Shortly before the trip is scheduled to begin, Will's crew quits when they get word of a nearby gold strike. With little time and few alternatives, Will recruits eleven boys, ages nine through 13, and teaches them the basics of herding cattle and riding the range. Bruce Dern plays a memorably foul villain and cattle rustler named Long Hair, while Roscoe Lee Browne portrays Jebediah, the cattle drive cook, and Colleen Dewhurst is Kate, a madam. ~ Mark Deming, Rovi

Based on a novel by Louis L'Amour, this comedic western tells of a thieving man who tries to get his hands on two million dollars of government cash while trying to avoid his friend--who happens to be a lawman. ~ Kristie Hassen, Rovi

In this comic Italian Western, the third of the "Trinity" series, Trinity (Terence Hill) and his brother Bambino (Bud Spencer) abandon their law-enforcement duties and try to join the world of horse thieves and criminals. Despite their bad intentions, and their own unbelievable klutziness, they end up helping everyone they meet. Their deadpan earnestness in improbable situations helps make this broad comedy work. What happens when they visit a snooty French restaurant is one of the highlights of the film. The two men speak so little that language is no barrier to enjoying this production, even in its original Italian-language release. ~ Clarke Fountain, Rovi

Monte Walsh (Lee Marvin ) and his pal Chet Rollins (Jack Palance) are two over the hill cowboys seeking work in the town of Harmony, Arizona in the final days of the Old West. They take a job at the ranch of Cal Brennan (Jim Davis) and meet an old friend Shorty (Mitch Ryan). Monte goes off to visit old flame Martine (Jean Moreau), a saloon girl suffering from tuberculosis. The ranch closes and Chet marries Mary Eagle (Allyn Ann McLerie), a widow who owns a profitable hardware store. He tries to talk Monte in to giving up his cowboy life and settling down. He asks Martine to marry him, but she declines and cites her deteriorating health as the reason for her refusal. Monte goes on a drinking binge and rides a wild horse through town. He is indignant when a rodeo owner offers him a job. Monte states he would rather spit on himself that resort to such degrading work. Shorty is soon unemployed and guns down local lawman (LeRoy Johnson). Distraught after the death of his beloved Martine, Monte goes after Shorty when he guns down Chet. This film marks the directorial debut for cameraman William A. Fraker. ~ Dan Pavlides, Rovi

John Wayne toplines this biography of the cattle owner John Simpson Chisum, a controversial figure who was the most powerful man in New Mexico during the Wild West era. A founder and prominent citizen in the town of Lincoln, Chisum is slow to act when ruthless land baron Lawrence Murphy (Forrest Tucker) moves in on several local businesses and takes them over. By the time Chisum and his ally, fellow rancher Henry Tunstall (Patrick Knowles), decide to go to the law, Murphy's already bought and paid for influence there, as well. The only recourse left to the cattlemen is to take Murphy on in all-out range war that embroils everyone in the county, including Tunstall's hand Billy the Kid Bonney (Geoffrey Deuel) and his comrade Pat Garrett (Glenn Corbett). Screenwriter and producer Andrew J. Fenady based the script for Chisum (1970) on his own short story, a very loosely fact-based account of Chisum, Billy the Kid and their involvement in the Lincoln County wars. ~ Karl Williams, Rovi

After the intense bloodshed of The Wild Bunch (1969), this comic western fable took the opposite approach to director Sam Peckinpah's continuing examination of the end of the West. Left for dead by a couple of lizard-slaughtering desperados in the middle of the desert, prospector Cable Hogue (Jason Robards) is saved by his unexpected discovery of water "where there wasn't any." Hogue turns the water hole, felicitously located near a stagecoach route, into a thriving business, creating a rest stop for a never-ending series of parched travelers. On his occasional trips to the closest town, he meets chipper prostitute Hildy (Stella Stevens), who joins him in his oasis, completing Hogue's little paradise. But even though Hogue may be able to succeed and avenge himself against his original attackers, there is one thing that he cannot stop: progress. Completed before The Wild Bunch was released, and replete with comical and even musical interludes, Peckinpah's gently picaresque telling of Hogue's rise and fall stands in distinct contrast to the visual violence of its predecessor. The underlying message about the cost of modernity, however, equals The Wild Bunch in seriousness. The callous randomness of Hogue's fate is as shocking as the Bunch's final blaze of glory; as in Robert Altman's McCabe and Mrs. Miller from the same period, a tool of "civilization" provokes a most uncivilized end for an Old West dreamer. Although the film was as light-hearted in approach as the 1969 smash hit revisionist western Butch Cassidy and the Sundance Kid, Warner Bros. mishandled the release and it did barely any business; Peckinpah returned to his trademark gore in his next film, the controversial Straw Dogs (1971). Still, The Ballad of Cable Hogue is less an anomaly for a master of violence than an ironically charming chapter in Peckinpah's career-long elegy to the western. ~ Lucia Bozzola, Rovi