Paul Scheer sheds some light on The Room, lets us in on a secret in The Disaster Artist, and answers your questions. Plus, we explore the origins of midnight movies and take a look at IMDb's Top 10 Stars of 2017.
Nun Sara is on the run in Mexico and is saved from cowboys by Hogan, who is preparing for a future mission to capture a French fort. The pair become good friends, but Sara never does tell him the true reason behind her being outlawed.
A hard but mediocre cop is assigned to escort a prostitute into custody from Las Vegas to Phoenix, so that she can testify in a mob trial. But a lot of people are literally betting that they won't make it into town alive.
Josey Wales makes his way west after the Civil War, determined to live a useful and helpful life. He joins up with a group of settlers who need the protection that a man as tough and experienced as he is can provide. Unfortunately, the past has a way of catching up with you, and Josey is a wanted man. Written by
Murray Chapman <email@example.com>
Towards the end of the film, Josey and Laura Lee exchange jokes about their respective home states. Laura Lee tells a gag about Missouri being the "show-me" state, a nickname which most people agree only dates back to the 1890s, whereas this film is set in the immediate aftermath of the Civil War, in the 1860s. See more »
THE OUTLAW JOSEY WALES is a wonderful story about a wounded man, Josey
Wales, a Missourian who has lost his home and his family to the Civil
War. As the Civil War ends in defeat and despair for the South, Wales
alone of his guerrilla unit refuses to surrender. He has nothing left
to live for, except to fight, and he cannot give that up.
This is a setup that has appeared many times in the movies, as the hero
with nothing left to lose is a perfect excuse to show nonstop gunplay.
To some extent, this happens in THE OUTLAW JOSEY WALES too. It is an
action western according to the classic formula, but it is more than
that. Josey Wales heals his wounds as the story goes on, and begins to
replace the friendship, and then the love, that he has lost. And as he
heals, he begins to grow out of violence as a way of life. Many
westerns have the theme of the older breed of man who tamed the west by
violence being abandoned by his fellows; only this one, so far as I
know, has the older breed of man abandon himself, that is to say,
change his ways with the changing of the times.
Clint Eastwood is a decent actor, not a great one. But at times he has
shown the skills of a really first-class director, and given his
limitations as an actor it is the more to his credit that he did not
hog the stage. He gives plenty of screen time to an excellent
supporting cast, of whom the most memorable is Chief Dan George as aged
Cherokee warrior Lone Watie, a role he plays with an eerily perfect
balance of dignity and humor. Will Sampson makes an unforgettable cameo
as Comanche chief Ten Bears, and Paula Trueman is a magnificently
John Vernon plays Fletcher, the man who betrays Josey Wales early on. I
don't understand why Vernon could not find work in quality movies after
this (he has appeared in 38 cinema releases since this movie and I
challenge you to name any of them). Vernon has one of THE great
basso-profundo voices in American cinema; only James Earl Jones could
compare to it. If mountains could speak, they would sound like John
Vernon. His role is a neat twist on the trope of the 'reluctant hero';
Fletcher is a reluctant villain.
The ending of THE OUTLAW JOSEY WALES is the most beautiful and poetic
of any in western movie history, maybe the most beautiful of any movie
ever. According to the rules of the genre, the final confrontation
between Wales and Fletcher can have only one outcome; the movie finds
another way, because Josey Wales has found another way.
Rating: ***½ out of ****.
Recommendation: Western fans should own this one, but any movie fan
should enjoy it.
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