3:10 to Yuma is a tight, taut Western in the High Noon tradition. Struggling rancher and family man Van Heflin sneaks captured outlaw Glenn Ford out from under the eyes of his gang and nervously awaits the prison train. Adapted from an Elmore Leonard story, this tense thriller is boiled down to its essential elements: a charming and cunning criminal, an initially reluctant hero whose courage and resolution hardens along the way and a waiting game that pits them in a battle of wills and wits. Glenn Ford practically steals the film in one of his best performances ever: calm, cool and confident, he's a ruthless killer with polite manners and an honourable streak. Director Delmer Daves (Broken Arrow) sets it all in a harsh, parched frontier of empty landscapes, deserted towns and dust, creating a brittle quiet that threatens to snap into violence at any moment. --Sean Axmaker, Amazon.com
Any short list of the all-time greatest Westerns is bound to include this 1948 Howard Hawks classic about an epic cattle drive. Red River features one of John Wayne's greatest performances. Like his Ethan Edwards in John Ford's 1956 masterpiece The Searchers, the Duke plays an isolated and unsympathetic man who is possessed by bitterness. Wayne is Texas rancher Tom Dunson, who adopts a young boy orphaned in an Indian massacre. That boy, Matthew Garth (played as an adult by Montgomery Clift in his screen debut), becomes Dunson's assistant and heir apparent--until Dunson's temper gets out of control during a long cattle drive and Matt intervenes to stop him. From that moment on, Dunson swears he will kill Matt. Red River has everything a great Western ought to have: a sweeping sense of history, spectacular landscapes, stampedes, gunfights, Indian attacks, and, of course, Walter Brennan as Dunson's crusty old cook and comic sidekick, Nadine Groot. As a special bonus, the film also features the legendary Harry Carey (upon whom Wayne would base some of his gestures in The Searchers) and his son Harry Carey Jr, who became a fixture in Ford and Hawks' Westerns. Red River is essential for anyone who loves Westerns, or movies in general. This one's a real beaut. --Jim Emerson, Amazon.com
Rod Steiger plays a small-town Mississippi sheriff who is forced to collaborate on a murder investigation with Virgil Tibbs, a black homicide detective from Philadelphia (Sidney Poitier). The pair at first find themselves totally at odds with each other, but as the investigation proceeds each learns to respect the other's talents. The film won five Oscars, including Best Picture and Best Actor for Steiger.
Sheriff John Higgins quits and goes into prospecting after he thinks he has killed his best friend in shooting it out with robbers...
Marilyn Monroe, Clark Gable and Montgomery Clift star in this Western directed by John Huston. Sensitive young divorcee Roslyn (Monroe) and her only friend, Isabelle (Thelma Ritter), meet three cowboy drifters, Gaylord (Gable), Perce (Clift) and Guido (Eli Wallach), who are in town for the rodeo. They plan to catch wild mustangs but Roslyn is upset when she learns that they will be sold as dog food and seeks to free the captive horses.
MARLENE DIETRICH (Blonde Venus) and JAMES STEWART (Vertigo) ride high in this superb comedic western, both a boisterous spoof and a shining example of the genre it is having fun with. As the brawling, rough-and-tumble saloon singer Frenchy, Dietrich shed her exotic love-goddess image and launched a triumphant career comeback, while Stewart cemented his amiable everyman persona, in his first of many westerns, with a charming turn as a gun-abhorring deputy sheriff who uses his wits to bring law and order to the frontier town of Bottleneck. A sparkling script, a supporting cast of virtuoso character actors, and rollicking musical numbers - delivered with unmatched bravado by the magnetic Dietrich - come together to create an irresistible, oft-imitated marvel of studio-era craftsmanship. Special Features: New 4K digital restoration by Universal Pictures in collaboration with The Film Foundation, with uncompressed monaural soundtrack on the Blu-ray New interview with critic Imogen Sara Smith New interview with Donald Dewey, author of James Stewart: A Biography New video essay featuring excerpts from a 1973 oral-history interview with director George Marshall, conducted by the American Film Institute Lux Radio Theatre adaptation of the film from 1945, featuring actors James Stewart and Joan Blondell PLUS: An essay by critic Farran Smith Nehme
Lee Van Cleef stars as McClain a ruthless and savage outlaw who heads a posse of murderers and thieves. After witnessing the murder of his parents and kidnap of his sister by the criminal gang a young boy (Leif Garrett) embarks on a personal vendetta to rescue his sister and avenge his parents deaths. With the help of a prospector called Isaac another victim of McClain's posse the two form an unstoppable alliance that will bring death to those responsible.
Legendary Native American Chief Crazy Horse is betrayed by his rival who tells the white men there's gold in the tribe's sacred burial ground As a new gold rush begins, and old treaties are ignored, the Sioux tribe's war with the fork-tongued white man begins again with new ferocity. Crazy Horse (Victor Mature) leads his braves into battle time and again in the treacherous build up to the historic Battle of the Little Big Horn (otherwise known as Custer's Last Stand). Told entirely from the Native American perspective, this is the enthralling story of a truly great, visionary warrior and a principled leader much misunderstood by history.
This box set combines a fun and practical prenatal workout with three postnatal exercise progressions to ease you back into shape. 1. Pre-natal: For women looking to stave off pregnancy weight gain and keep their bodies fit for the rigours of childbirth . A unique programme that quickly and effectively conditions your growing body. Includes: Modified Pilates kegels sports conditioning true-blue body sculpting seamlessly blend together in Erin's workouts fat-burning cardio muscle toning strength training and tension-relieving stretches. 2. Post-natal: Featuring three exercise progressions to ease you back into shape without hurting or overextending yourself. With 15 minute workouts to do each day which focus on back abdominals buttocks inner thighs and hips - all affected by pregnancy and delivery . This programme can be used from the very beginning of your recovery up to one year after the birth.
When it comes down to naming the best Western of all time, the list usually narrows to three completely different pictures: Howard Hawks' Rio Bravo, Hawks' Red River and John Ford's The Searchers. About the only thing they all have in common is that they all star John Wayne. But while The Searchers is an epic quest for revenge and Red River, a sweeping cattle-drive drama, Rio Bravo is a much calmer film. Basically, it comes down to Sheriff John T Chance (Wayne), his alcoholic friend Dude (Dean Martin), the hotshot new kid Colorado (Ricky Nelson), and deputy-sidekick Stumpy (Walter Brennan), sittin' around in the town jail, drinkin' black coffee, shootin' the breeze, and occasionally singin' a song. Hawks--who, like his pal Ernest Hemingway, lived by the code of "grace under pressure"--said he made Rio Bravo as a rebuke to High Noon, in which sheriff Gary Cooper begged for townspeople to help him. So, Hawks made Wayne's Sheriff Chance a consummate professional--he may be getting old and fat, but he knows how to do his job, and he doesn't want amateurs getting mixed up in his business; they could get hurt. If the configuration of characters sounds familiar, it should: Hawks remade Rio Bravo two more times--as El Dorado in 1967, with Wayne, Robert Mitchum, and James Caan; and as Rio Lobo in 1970, with Wayne, Jack Elam, and Christopher Mitchum. The film achieved additional notoriety in the 90s when Quentin Tarantino revealed that he uses it as a litmus test for prospective girlfriends. --Jim Emerson, Amazon.com
After redefining the prison drama with the multi-award winning A Prophet and earning a Palme D'Or for Dheepan, French visionary director Jacques Audiard turned his eye to the American Western, adapting Patrick DeWitt's acclaimed novel The Sisters Brothers. Joaquin Phoenix (We Own the Night) and John C. Reilly (Boogie Nights) star as Charlie and Eli Sisters, a pair of Old West bounty hunters preceded by their reputation for ruthlessness. They're tasked by their boss, a trade magnate and crime lord known only as The Commodore, with a seemingly simple mission: track down and kill a man by the name of Hermann Kermit Warm (Riz Ahmed, The Sound of Metal), with the help of John Morris (Jake Gyllenhaal, Donnie Darko), a private detective who's approached Warm under false pretences. As the Sisters Brothers embark on the arduous journey from Oregon to California, their allegiance is questioned and their humanity challenged when they discover their actual target: a secret formula of Warm's invention, that when poured into a river, can help detect gold. Superbly shot by regular Audiard collaborator Benoît Debie and featuring mesmerising performances from its lead cast, The Sisters Brothers reinterprets the classic Western formula to craft a compelling and darkly comedic tale of betrayal, redemption and brotherhood. Product Features 4K (2160p) Ultra HD Blu-ray presentation in Dolby Vision (HDR10 compatible) Original 5.1 DTS-HD Master Audio sound Optional English subtitles for the deaf and hard of hearing Brand new audio commentary by authors and critics C. Courtney Joyner and Henry Parke Barry Forshaw on The Sisters Brothers, a brand new video essay by film critic Barry Forshaw on The Sisters Brothers and the psychological Western genre His Own Private Wild West, archival hour-long making-of documentary featuring interviews with many cast and crew members including director Jacques Audiard, actor John C. Reilly, cinematographer Benoît Debie, Production designer Michel Barthélémy, sound designer Brigitte Taillandier and Patrick DeWitt, author of the novel The Sisters Brothers Animated reviews Trailers Short promotional featurettes Reversible sleeve featuring original and newly commissioned artwork by Tommy Pocket Double-sided fold-out Wanted poster Illustrated collector's booklet featuring new writing on the film by film critic Howard Hughes, academic and Audiard expert Gemma King and original production notes
Starring Michael Fassbender (X-Men: Days of Future Past, 12 Years a Slave) and Kodi Smith-McPhee (Dawn of the Planet of the Apes), SLOW WEST follows the story of 16-year-old Jay Cavendish (Smit-McPhee) as he journeys across the American frontier at the end of the 19th century, in search of the woman he loves. Along the way he is joined by Silas (Fassbender), a mysterious traveller with his own agenda, and is hotly pursued by an outlaw named Payne (Mendelsohn). Directed by John Mclean, SLOW WEST also stars Ben Mendelsohn (Exodus: Gods and Kings), Caren Pistorius (The Light Between Oceans) and Rory McCann (Game of Thrones).
Audie Murphy may have had top billing in Ride Clear of Diablo but the film is bushwhacked and stolen by co-star Dan Duryea. As notorious gunslinger Whitey Kincaid Duryea is hired by sinister forces to kill Murphy who is out to avenge the murders of his father and brother. Instead Kincaid befriends Murphy and helps him track down his family's killers. Since Murphy is the star it is he who exacts final vengeance but the script makes clear that he couldn't have done this without the aid of the snide smirking Kincaid. Ride Clear of Diablo's supporting cast includes singer Abbe Lane who handles her bad girl role with class.
Collection of footage recorded throughout the world on high definition 3D cameras.
Billy Doc and Chavez find themselves jailed in the same place and plan an escape. Together with new recruits they head for the Mexican border not knowing that Billy The Kid's one-time friend now wears a badge and is leading the posse to get them...
The true story of a recently widowered lawman who befriends a boy dying of tuberculosis and a madam of the local brothel while their town is being politically and violently overtaken by a gang of reckless cattlemen from Texas.
The remarkable first season of Deadwood represents one of those periodic, wholesale reinventions of the Western that is as different from, say, Lonesome Dove as that miniseries is from Howard Hawks's Rio Bravo or the latter is from Anthony Mann's The Naked Spur. In many ways, Deadwood embraces the Western's unambiguous morality during the cinema's silent era through the 1930s while also blazing trails through a post-NYPD Blue, post-The West Wing television age exalting dense and customized dialogue. On top of that, Deadwood has managed an original look and texture for a familiar genre: gritty, chaotic, and surging with both dark and hopeful energy. Yet the show's creator, erstwhile NYPD Blue head writer David Milch, never ridicules or condescends to his more grasping, futile characters or overstates the virtues of his heroic ones. Set in an ungoverned stretch of South Dakota soon after the 1876 Custer massacre, Deadwood concerns a lawless, evolving town attracting fortune-seekers, drifters, tyrants, and burned-out adventurers searching for a card game and a place to die. Others, particularly women trapped in prostitution, sundry do-gooders, and hangers-on have nowhere else to go. Into this pool of aspiration and nightmare arrive former Montana lawman Seth Bullock (Timothy Olyphant) and his friend Sol Starr (John Hawkes), determined to open a lucrative hardware business. Over time, their paths cross with a weary but still formidable Wild Bill Hickok (Keith Carradine) and his doting companion, the coarse angel Calamity Jane (Robin Weigert); an aristocratic, drug-addicted widow (Molly Parker) trying to salvage a gold mining claim; and a despondent hooker (Paula Malcomson) who cares, briefly, for an orphaned girl. Casting a giant shadow over all is a blood-soaked king, Gem Saloon owner Al Swearengen (Ian McShane), possibly the best, most complex, and mesmerizing villain seen on TV in years. Over 12 episodes, each of these characters, and many others, will forge alliances and feuds, cope with disasters (such as smallpox), and move--almost invisibly but inexorably--toward some semblance of order and common cause. Making it all worthwhile is Milch's masterful dialogue--often profane, sometimes courtly and civilized, never perfunctory--and the brilliant acting of the aforementioned performers plus Brad Dourif, Leon Rippy, Powers Boothe, and Kim Dickens. --Tom Keogh, Amazon.com
Streets Of Laredo is the third title in the Lonesome Dove Saga. An exhilarating tale of legend and heroism continues the epic of the waning years of the Texas Rangers. Captain Woodrow Call is long in the tooth but still a legendary hunter. He is hired to track down a young Mexican train robber and killer Joey Garza. Riding with Call are an Eastern city slicker a witless deputy and one of the last remaining members of the Hat Creek outfit Pea-Eye Parker. Their long chase leads the
The Man from Laramie is the last of five remarkable Westerns Anthony Mann made with James Stewart (starting with Winchester '73 and peaking with The Naked Spur). Only John Ford excelled Mann as a purveyor of eye-filling Western imagery, and Mann's best films are second to no one's when it comes to the fusion of dynamic action, rugged landscapes and fierce psychological intensity. This collaboration marked virtually a whole new career for Stewart, whose characters are all haunted by the past and driven by obsession--here, to find whoever set his cavalry-officer brother in the path of warlike Indians. The Man from Laramie aspires to an epic grandeur beyond its predecessors. It's the only one in CinemaScope, and Stewart's personal quest is subsumed in a larger drama--nothing less than a sagebrush version of King Lear, with a range baron on the verge of blindness (Donald Crisp), his weak and therefore vicious son (Alex Nicol) and another, apparently more solid "son", his Edmund-like foreman (Arthur Kennedy). There are a few too many subsidiary characters, and the reach for thematic complexity occasionally diminishes the impact. But no one will ever forget the scene on the salt flats between Nicol and Stewart--climaxing in the single most shocking act of violence in 50s cinema--or the final, mountain-top confrontation. For decades, the film has been seen only in washed-out, pan-and-scan videos, with the characters playing visual hopscotch from one panel of the original composition to another. It's great to have this glorious DVD--razor-sharp, fully saturated (or as saturated as 50s Eastmancolor could be) and breathtaking in its CinemaScope sweep. --Richard T Jameson, Amazon.com
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