Tag: western

Sweetwater

  By

★★½
“Sweet but mostly sour.”

sweetwaterLife in the old West was tough. It was particularly tough if you were a woman, such as Sarah Ramírez (Jones), struggling to make an honest living with her farmer husband Miguel (Noriega), having escaped life as a prostitute. This movie shows it to be especially tough, after Miguel has had his throat slit by batty preacher Prophet Josiah (Isaacs) – it doesn’t help he has the hots for Sarah, apparently taking the “love thy neighbour” line very literally, and runs the local area as if it were his own personal fiefdom. Fortunately, she has an unusual ally in Sheriff Jackson (Harris). The lawman shows up, looking for two people who disappeared on a journey which took them right across Josiah’s territory, and is about the only other person willing to stand up to the lunatic religious fringe. Finally, Sarah has had enough, and embarks on her vengeance against, not only Josiah, but anyone else who has wronged her, such as the shopkeeper who spied on her in his changing-room.

That final clause kinda illustrates the main problem here: an unevenness of tone which veers between the deadly serious and the ludicrously comic. That’s even the case for some individual characters, particularly Jackson; one minute, he’s waltzing by himself in the town’s main street, the next he’s carrying out forensic analysis, decades ahead of its time. While an intriguing character, the movie might have been better off concentrating on him or Sarah: they may share a common enemy, yet they hardly share a scene until the end, where Jackson’s sole purpose appears to be to provide a second firearm for our heroine. As for the ending, “Is that it?” will likely be your reaction, though in the film’s defense, I sense the emptiness of revenge is part of the point: once you’ve taken it, bringing to an end something which has consumed your life, what then?

I enjoyed the performances here, however: Jones’s understated style works towards her, while Isaacs and Harris both put over an unhinged air of barely-repressed violence. There are some fine moments, depicting Sarah’s willingness to use any means necessary, luring two of Josiah’s men to their doom by bathing in a river [pics from the scene “leaked” out: in no way was this a shallow publicity grab, I’m sure…]. The look of the film is also well done, with good use made of the New Mexico landscapes, and as the picture above shows, the heroine’s colourful garb is an interesting contrast – must have been hot and uncomfortable as hell to film in that. But the good intentions aren’t enough to overcome the lurches in tone and content, and the result is, frankly, a bit of a mess.

Dir: Logan Miller
Star: January Jones, Jason Isaacs, Ed Harris, Eduardo Noriega
a.k.a. Sweet Vengeance or Sherif Jackson

 

"There are some fine moments, depicting Sarah's willingness to use any means necessary. The look of the film is also well done, with good use made of the New Mexico landscapes. "
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The Dalton Girls

  By

★★★½
“How the West was wo(ma)n.”

dalton-girls-os1“Oh, you can’t trust a man, ‘cos a man will lie,
But a gun stays beside you till the day you die.
A man is a cheater, with his triflin’ ways,
But a gun’s always faithful, ‘cos a gun never strays.”
   — Holly Dalton (Merry Anders)

The above comes from a rather strange musical number, injected into the middle of this B-Western for no particular purpose. It’s sung by Holly, the leader of the titular gang, consisting of four sisters: the older pair Holly and Columbine (Edwards), are forced on the lam after a sleazy funeral director tries to force himself on Holly, resulting in his encounter with the business end of a spade. Six years later, they have been joined by younger siblings Rose (Davis) and Marigold (Sue George). and are raiding stage coaches around the West.

Things are derailed when one of their targets is carrying W.T. “Illinois” Grey (Russell), a gambler on his way to the Colorado boom town of Dry Creek. Columbine falls for him, and casually suggests Dry Creek as the location for the gang’s next raid. They raid the bank, and get away with $6,000 – which was supposed to go to Grey, and he is shot in the process. He trails them to Tombstone where, rather than tell the sheriff, he blackmails the gang to get the money back, and Holly decides to get revenge by raiding the high-stakes poker game where he is wagering the cash.

It’s a wonderfully grey film, morally speaking: unlike many Westerns of the era (1957), it isn’t black-hatted villains metaphorically twirling their wax moustaches, as they go up against square-jawed good guys in their white hats. Here, there isn’t anyone whom you could truly place at either end of the moral spectrum. The Daltons, Holly in particular, are victims of their family reputation – the film opens with their brothers being hunted by a posse, and gunned down in the desert. [The funeral director who assaults her is displaying the corpses for a 25-cent admission fee, which appears based on the fate of the real Dalton Gang].

On the other hand, Grey is certainly no hero either, a pragmatist whose main focus is looking out for #1. Naturally, crime can’t be allowed to pay, and the ending reflects that. However, the journey is a surprisingly forward-thinking one, with only the doomed Grey-Columbine romance counting as an expected element. There is probably one sister too many, since they do blur together, and absolutely nothing like the tagline on the poster happens [“snared them in their love traps at night”? Really?], though that may not be a bad thing. Apart from the fact that the outlaws are women, the story doesn’t have much new to offer. However, considering the era, that alone is still borderline radical, and plays a good two decades ahead of its time, if not more.

Dir: Reginald Le Borg
Star: Merry Anders, John Russell, Penny Edwards, Lisa Davis

Little Rita of the West

  By

★★½
“Killing off the Western musical, almost a decade before Paint Your Wagon.”

I came into this almost entirely blind, watching it based on the title and the first three minutes off YouTube. You can understand my surprise, after Rita (Pavone) and her German sidekick (Dalla) take out a gang of stagecoach robbers, finishing off by gunning one down in the back, as he lies dazed on the ground, when they… burst into song? Yep, what I didn’t know was, this is actually a musical, designed around the talents of Ms. Pavone, who was apparently a huge pop-star in Italy in the sixties. Hence the songs. Okay, that makes a bit more sense. But it’s still an extremely odd beast, swinging from obvious spoof to apparent seriousness at the drop of a catchy tune.

The plot has Rita “liberating” gold from various bad guys, in conjunction with her Indian chief partner (Mitchell), with the intention of destroying it, believing it’s the root of all evil. That brings her into conflict with “Ringo” – sharing the same of a popular spaghetti Western character, but really a thinly-disguised Man With No Name – and “Django,” a not-at-all disguised copy of that iconic character, down to him dragging a coffin containing a machine-gun, and possessing broken hands. But she then meets and falls for another outlaw, Black Stan (Hill), who ends up sentenced to death after he tries to run off with Rita’s stash of gold awaiting destruction.

Much of this clearly isn’t intended to be serious, such as Rita’s rocket-propelled grenades which clip on to her gun, the local sheriff (Pavone’s husband and manager Teddy Reno) who’d rather be a lumberjack hairdresser, and the frequent references to “frontier humour,” whenever anyone makes a bad joke. But the confrontations with Ringo and Django are played more or less straight, and Little Rita (who is indeed little, at barely 4’10”) is actually made to look something of a bad-ass, punching above her weight. There are actually some genuinely impressive bits of satire, too, such as one victim asking to die “American style,” which means he gets to tell his life-story before the final breath, unlike “Indians and Japs.” The finale, too, needs to be seen to be believed, and is an absurdist breaking of the fourth wall.

However, for every smart and witty moment, there are probably two really stupid ones, while most of the performances would get their actors fired from Benny Hill for excessive comedic mugging. And the songs don’t help: I’m not averse to the concept (I’m a big My Fair Lady fan, and we’ve also seen enough Bollywood films to be able to cope with sudden jumps into musical numbers), but these are damn near irredeemably-awful. The result often finds its way into lists of the worst spaghetti Westerns ever made: if I can certainly see why, I’ll confess I was generally entertained, if only by the sheer “WTF?”-ness of proceedings. It’s more or less unlike any other GWG film you will ever see, and I’ve not seen any other spaghetti Westerns with a female lead either: for such originality alone, I can’t condemn it entirely.

Dir: Ferdinando Baldi
Star: Rita Pavone, Lucio Dalla, Terence Hill, Gordon Mitchell

Hannie Caulder

  By

★★★½
“Iconic imagery, but not really too convincing a heroine. “

If genre entries produced in Italy are “spaghetti Westerns”, what does that make those produced in Britain? “Fish and chip Westerns?” “Roast beef Westerns?” Shot in Spain, but made by Tigon Film, and including such quintessential Brits as Christopher Lee and Diana Dors in supporting roles, this is nicely-photographed and hits all the right notes. But as the titular character, who seeks revenge after her husband is gunned down, and she herself raped, by the Clemens brothers, Welch perhaps has too much cinematic baggage. While responsible for one of the all-time absolute classic images of the genre, it’s an association which leaves the viewer struggling to look at the heroine without seeing fur bikinis or even Fathom, rather than a widow, hellbent on and dedicated to vengeance with an almost psychotic obsession and lack of self-concern.

Still, there is plenty to enjoy, not least Culp as the bounty hunter who, reluctantly, agrees to take Caulder under his wing, largely realizing that she’s going to get herself killed otherwise. He delivers exactly the right air of world-weary wisdom, and Hannie’s training is covered in enough depth, and with enough bumps in the road, to be credible. Unfortunately, the same can’t be said of the Clemens (Borgnine, Martin and Jack Elam): for some reason, they are portrayed almost as comedic jesters or harmless buffoons, characters in great contrast to the vicious rapists and killers we first see. It’s an odd combination, that doesn’t work. Much better used is Lee, as a gunsmith who has retired to Mexico to raise rug-rats, and it’s there Caulder’s mettle is first tested.

I did suspect that she wouldn’t be able to complete her mission without significant male help – this was made in 1971, after all. I was somewhat right, but only somewhat. The ending is both fairly satisfying, in that it avoids the obvious get-out in this direction, but also unsatisfying, in that it merely replaces it with a different one, which is likely too much of a deus ex machina to be acceptable. However, there’s no denying Welch’s credentials as a screen icon, and if this could never be called a classic of the genre, there’s enough here that does work, to make this more than an acceptable entry in the field. Even if one which, thanks to its Anglo origins, perhaps would be best accompanied by a nice cup of tea.

Dir: Burt Kennedy
Star: Raquel Welch, Robert Culp, Ernest Borgnine, Strother Martin

The Last Rites of Ransom Pride

  By

★★★
“Well, at least it’s different…”

Though nominally a Western, this perhaps has more in common with the surreal works of Alejandro Jodorowsky, in particular El Topo, with mystical elements and downright weirdness. Ransom Pride (Scott Speedman, from the Underworld series) is killed in a gun-battle while trying to broker an arms deal with the locals. His corpse is kept by the local bruja, or witch (de Pablo), because her brother also died in the fight, shot by Ransom. That doesn’t sit well with his lover, Juliette (Caplan), a half-breed who has been raised in blood since slitting the throat of the Mexican general who killed her parents, while still not yet a teenager. She returns to Ransom’s home, and recruits his brother (Foster) to help recover the body, on the way back to Mexico, meeting a bevy of strange characters and situations. Their mission doesn’t sit well with the Pride patriarch (Yoakam), a gun-fighter turned preacher, who sets loose a pair of hunters, but is prepared to get his own hands dirty in pursuit of that “whore of Babylon.”

In terms of visual style, it seems almost as if the appeoach was to try and irritate the hell out of the viewer, with frequent interruptions of scenes with a few frames takes from other sequences, past or yet to come. It certainly keeps the audience on their toes, but is both overused and outstays its welcome. That’s a shame, as there are other elements worthy of credit, not least the overall look, which has a bleached tone that is quite effective. Caplan is undeniably impressive, as is de Pablo – both come over as women with whom you do not want to mess. That’s impressive given both are probably best known previously, for fairly bland TV fare. Here, they are genuinely disturbing, and it’s a mix of the generally decent performances, and weird sense that anything could happen, that kept me watching.

On the downside, as well as the opaque visual sense, the audio is not infrequently as muddied as the picture, though it’s harder to say whether or not it was deliberately so. The script also has a tendency to drift off into areas that are probably not necessary – there’s too much backstory involving Ransom and his brother, when the film should instead have been moving forward. Finally, the editing during the action scenes is disappointing fractured, to the extent that you largely have to wait for the dust to settle and see who’s still alive. The negatives and positives end up just about balancing, and the end result is something that you don’t mind watching, yet will likely not have much interest in seeing again.

Dir: Tiller Russell
Star: Lizzy Caplan, Jon Foster, Cote de Pablo, Dwight Yoakam

Hell’s Fury: Wanted Dead or Alive

  By

★½
“There’s nothing like a good Western. And this is nothing like a good Western.”

Eryn Cates (Hague) returns home to Texas from finishing school in New York, to find her family farm teetering on the edge of foreclosure [maybe if they hadn’t spent all that money to send her to finishing school in New York…]. In a misguided attempt to help things, her brother tries to rob a stagecoach carrying payroll, but is injured. The attempt fails, but local mogul Mortimer (Harris), who holds the loan on the Cates farm, sees a chance and pockets the loot. Two Texas Rangers, including the young and handsome Flint (Hagenbuch) show up to investigate the robbery, but it’s up to Eryn to save the family property, take on the mantle of the bandit, fend off the unwanted advances of Mortimer and engage in pseudo-romantic banter of the least interesting or convincing sort with Flint.

It’s not very good, and the problems start right from the format: it was shot on low-definition video, which gives everything a harsh, modern look that really doesn’t suit the genre. Hague is equally unsuited for the role, and never succeeds in putting across any significant degree of emotion. And quite why there’s a kung-fu master in an early scene, I have no idea: he crops up once, and then is never seen again. It’s not as if Eryn exactly wields nunchakus against Mortimer’s minions. There are some cheap laughs to be had, not least the town dance where the band appear to play the same eight bars of The Streets of Laredo for six minutes straight, but most of this is just terribly pedestrian.

The DVD cover blurb claims, “The Quick and the Dead tips its cowboy hat to True Grit in this action packed Western gun battle.” Hmm. The tubes of the Internet deny any such phrase, though since Independent Film Quarterly [or “Quartly”, as the blurb has it] appears to be that endangered species, a print magazine, we can’t definitively claim fabrication here. What I can say with certainty, is that the apparent provider of the quote, Stuart Alson, has crafted a far greater work of fiction in that single sentence, than anything the writers here manage to conjure up in their 72, almost entirely tedious minutes.

Dir: Alan Chan
Star: Hannah Hague, Adam Hagenbuch, Ron E. Harris, Richard L. Olsen

Gang of Roses II: Next Generation

  By

★½
“Why? No, really: why?”

There are films which get a sequel because they’re successful. There are films which get a sequel because they are good. And then there’s a sequel to a film which was sub-mediocre, and appeared to vanish without causing even a ripple after its straight to video release in 2003. As a measure, nine years later, it hasn’t even reached 750 votes on the IMDB. Yet, we get this: a sequel that is neither needed, nor demanded by the public, and which manages to be even more boring and badly-constructed than its predecessor. Most movie-makers acquire at least a measure of technical skill as their career progresses, bur La Marre seems to have forgotten what little he knew a decade ago.

La Marre and Lamont Clayton are the only returning names from the original here – there’s a claim that Cassie is an member of the gang of female outlaws there, but neither actress Charli Baltimore nor her character seem to have been in it. She’s sitting in jail with the combination to a military safe, and for some reason, divulges the plan to break the safe to her cellmate Collette (Pratts), about two minutes after they’re introduced. Cassie is killed during an escape attempt, but Collette, with her knowledge, slides in to the gang, who then sit around a hotel room for what feels like ever. Eventually, they head to the town of San Juevo, and prepare for action, not knowing they are being stalked by Lee (Casseus) and his gang, out for revenge on the women. Yes, even though they are completely different ones from the first film. That’s the level of coherence you can expect from this.

Somewhat of a troubled production, apparently, with Taylor and La Marra getting into a brawl on set. Sure that improved the creative atmosphere immeasurably. But even the cheapest publicity stunt couldn’t have saved this wretched mess, which has exactly two decent scenes: one with one of the Roses speaking to the pastor of the San Juevo church, and another interacting with a little girl. That’s it. The action is horribly staged – the film budget couldn’t even run to fake blood, it seems – and it’s a merciful release that the film runs 15 minutes less than I was braced for. The balance is made up with La Marre’s entry to the 2012 World’s Least Amusing Out-takes competition. It’s a sure winner there: the only possible award for which this possesses any chance.

Dir: Jean-Claude La Marre
Star: Teyana Taylor, Eurika Pratts, Claudia Jordan, Gabriel Casseus

Yakuza Hunters: Revenge Duel In Hell

  By

★★½
“The Good, The Bad And The Hardly Ugly.”

If its predecessor (reviewed here as Sukeban Hunters) echoed the tropes of pinky violence, this one seems to have much more in common with Sergio Leone’s spaghetti Westerns. A mysterious stranger with a dark past rides into town, only to find that the violence they sought to escape has no intention of leaving them alone, and they must once again put on their weapons to fight for…something or other. Here, it’s returning Yakuza hunter Asami (as before, conveniently played by…Asami), who comes back to visit her old master, now a bar-owner, Inokuma (Kato), who arranges for her to stay with Miki (Yoshiyuki), who used to be a bit of a Yakuza hunter in her younger days. But all is not well, for the evil Shoryu clan are intent on turfing everyone out so they can build a casino. When that turns out to include both Inokuma and Miki, with extreme prejudice, Asami must take on both their minions and the hired uber-killer Akira (Miwa), who proves she is more than a match for most.

It certainly hits the ground running, the Shoryu members wielding a chainsaw in a deeply brutal fashion on both male and female victims, but overall, it’s just a tad less worthy than the original – there were times, particularly with regard to the audio, when the cheapness just seemed too much to handle. On the plus side, most of the gore effects are practical, rather than CGI, which was a welcome surprise after watching several genre entries from the Sushi Typhoon stable, and the action sequences are occasionally surprisingly impressive, most notably when Asami battles two Shoryu henchmen, in what’s effective a single take for each fight. However, the final battle – which, it’s no spoiler to say, is between Asami and Akira – is a disappointment, with flaky CGI and a really dubious conclusion.

Supposedly set three years after part one, I’d guess it was more or less filmed back-to-back, though there’s enough continuity issues to make me steer clear of calling this a “sequel” – not least, Asami possessing several more fingers than she should. I can see what the makers were aiming for [not least the soundtrack, which shamelessly adopts the spirit of Ennio Morricone], but they’ve picked a much harder target this time. They don’t have the necessary ability to pull it off, and the results don’t make up for the shortfall in skill with adequate energy.

Dir: Shinichi Okuda
Star: Asami, Yumi Yoshiyuki, Sakichi Kato, Hitomi Miwa

Hannah’s Law

  By

★★★
“A straightforward tale of revenge, Western style.”

In 1866, the young child Hannah Beaumont (Canning, best known for her role in The Vampire Diaries) watches as the rest of her family is slaughtered by outlaw Frank McMurphy (Pyper-Ferguson). Twelve years later, Hannah is now getting her long-awaited revenge. Having been trained to shoot, ride and collect the bounty on wanted men by Isom Dart (Danny Glover in a small role), she is now reeling in the members of McMurphy’s gang, one by one. When McMurphy hears about this, he gathers up his entire posse and rides to Hannah’s base in Dodge City to finish off what he started, a decade before. Can Hannah – with the aid of the town’s deputy marshal, Wyatt Earp (Holt) and her other friends, come out on top?

Well, there’s really not much doubt about that, this being a Hallmark Original Movie. Which means, as well as good winning out, there will be no sex or bad language, and severely restraint is exercised on the violence front. That said, knowing this going in will help defuse much sense of anticipation, and if you can get past the feeling this belongs to a far kinder, gentler age of cinema, it’s not a bad time-passer. Canning doesn’t quite look the part, being too willowy to be convincing, but that really only attracts the attention during the occasional hand-to-hand scene – firearms are a great equalizer for size and strength. She does manage to exude the required amount of steely determination, which is likely more important for this role.

Director Talalay’s name may be familiar to GWG fans; she directed the flop Tank Girl back in 1995. From the IMDB list, this looks to be her first return to the action heroine field since, and she has her moments, not least the first encounter between McMurphy’s gang and the very alone Hannah in Dodge City. Credit also to Kennedy, who plays Doc Holliday by shamelessly channeling Val Kilmer from Tombstone, yet still comes across as a memorable character. However, the presence of both Glover and Kimberly Elise as black gunslinger Stagecoach Mary, imply a racial blindness to the era that one suspects is more based on modern hopes than historical accuracy. Still, while the net result is not particularly memorable, and is clearly more interested in fulfilling expectations than confounding them, it succeeds in reaching its modest goals, in a way that some previous entries in the genre could only envy.

Dir: Rachel Talalay
Star: Sara Canning, Greyston Holt, John Pyper-Ferguson, Ryan Kennedy

6 Guns

  By

★★★½
“Hannie Caulder with less cleavage. And no Christopher Lee.”

The Asylum studio are infamous for producing ‘mockbusters’ – straight to DVD look-alikes of big-budget movies, designed to benefit from their publicity budgets. These have included their own versions of Sherlock Holmes and War of the Worlds, but they do make their own original works, including cheesy delights such as Mega Python vs. Gatoroid, starring 80’s popsters Tiffany and Debbie Gibson. They come in for a lot of flak as a result – some justified, some not, for this is neither mockbuster nor cheesy, and is surprisingly solid, if you want a straightforward Western tale of revenge. Selina Stevens (Mears) has to watch as her husband and two young sons are killed by Lee Horn (Mead) and his gang; she is brutally raped and left for dead, beginning a decline into alcoholic despair. Having reached bottom, she meets bounty-hunter Frank Allison (Van Dyke), and asks him to teach her how to shoot – conveniently, just as Horn’s crew start to make their way back to town. The townsfolk’s repeated affirmations that they feel safer with Frank around, might have been a bit premature.

Ok, ‘original’ might be a bit of a stretch, as the storyline is more than a bit reminiscent of Hannie Caulder [which I must get round to reviewing at some point], though sensibly reins back the glamour Raquel Welch provided there. On its own merits, however, this is based on a solid trio of central performances, with Mead particularly memorable as the black-hearted thug – in an interesting twist, it’s revenge which also triggers his initial assault on Stevens’ family. Selina’s transition to a gunslinger is nicely handled; she doesn’t exactly become a sharpshooter – but when opportunity presents itself, can shoot a fairly stationary target at shortish range, which is credible. Against this its low-budget nature is highly-obvious, with the “town” inhabited by about 12 people, and the action in general could have been spliced in from any randomly-selected 1950’s oater.

This remains a decent tale, satisfactorily told, with interesting characters, good performances and more than a local resonance, given its placedropping of Arizona names. And in case you’re wondering, no, there are not six guns in the movie, despite the title [depending on the count, there might be five or seven…] Still, you’d be hard-pressed to argue that this doesn’t fall in the upper echelon of the studio’s movies: this kind of thing should escape from The Asylum more often.

Dir: Shane Van Dyke
Star: Sage Mears, Barry Van Dyke, Geoff Meed, Greg Evigan