Category: The Actors

The Searchers

The Searchers is a 1956 movie directed by John Ford.

The Searchers tells the story of a Civil War veteran tasked with finding his abducted niece. John Wayne stars in an atypical role as the boorish and jaded Civil War veteran Ethan Edwards. Positioned as an antihero against matinee idol Jeffrey Hunter, Wayne’s character is brutal, cruel and temperamental. It’s an intriguing performance from the legendary actor – especially given his volume of stereotypical heroic Western roles. Ford’s direction is solid in the movie’s action sequences but the tone awkwardly shifts during longer narrative scenes.

THE BEST – Gorgeous Cinematography

The Searchers is a beautifully shot movie. The stones, snow and sands of the Arizona desert and mountains are a majestic backdrop for Ford’s sweeping chase scenes and moments of isolation. The grand expanse of the surroundings is a foreboding reminder of the danger lurking. Similarly, Wayne – our veritable hero – is often framed as an outsider, including in the movie’s famous ending.

THE WORST – Every Actor Other Than Wayne

Wayne is terrific in shaping a mostly unlikeable character. And while the rest of the large cast feature proficient acting, their characters aren’t believable. The range of odd emotional outbursts and overacting is distracting throughout the movie. These moments can negate the gorgeous cinematography and gritty story. Of particular note is Hank Worden’s Mose, a character whose persona falls somewhere between demeaning and jarring. The villain Scar is grossly miscast, as Henry Brandon’s dull, blue-eyed pseudo-native can’t match the narrative’s description.

FOX FORCE FIVE RATING – 4/5

The Searchers is a must-watch and definitely a Western classic. Wayne’s transformation into an anti-hero is remarkable and the cinematography is beautiful. Yet, the movie lingers and suffers from hokey and emotionally over-wrought acting.

Face to Face

Face to Face is a 1967 movie directed by Sergio Sollima.

Face to Face tells the story of a history professor who joins a famous outlaw’s gang before assuming leadership. The two characters, Tomas Milian’s Bennet and Gian Maria Volonte’s Brad Fletcher offer distinct personalities but essentially switch roles as the movie progresses. Milian’s usual quirky charm is noticeably absent as his Bennet is brooding and conflicted. Volonte is terrific as Fletcher, whose early speeches about the philosophy of power manifest into vicious actions. Sollima’s action sequences are excellent but the movie suffers from laboring scenes and odd pacing.

THE BEST – The Action

Sollima is grossly underrated as an action director – both in terms of European Westerns and movies in general. His scenes are compact, stylish and violent. Milian’s sullen character is rescued by these scenes – he’s an efficient, brutal killer. Volonte’s weak, bookish character is transformed by similar scenes.

THE WORST – The Professor’s Miraculous Recovery

Early in the movie, Fletcher suffers from lung disease and carries an ashen, crippled appearance. Yet, as the movie progresses and Fletcher transforms into a violent bandit, his color improves and his health is essentially forgotten.

FOX FORCE FIVE RATING – 3.75/5

The concept and lead actors of Face to Face are incredible but somehow the vision isn’t realized. Sollima’s action sequences are highlights but the movie suffers from slow pacing.

Gun Crazy

Gun Crazy is a 1950 movie directed by John H. Lewis.

Gun Crazy tells the story of a young gun-obsessed couple who go on a crime spree. John Dall and Peggy Cummins play the leads, Bart and Laurie, two outcasts who find each other. Dall is the rational, earnest, almost laconic half of the duo, while Cummins is impulsive, manipulative and at times, self-destructive. Their relationship avoids the hokey entanglements of the era and hints at a unique sexual tension. Lewis packs some intriguing innovations into his story – using realistic POV driving footage and staging some impressive long frame shots. The movie’s tone feels ahead of its time – it’s a dangerous, stylish film noir.

THE BEST – The Leads

Dall and Cummins are terrific throughout the movie. Dall gives his character a polish and appears peacefully calm, but there’s a craze resting behind his grin and smooth voice. Cummins’ Laurie is amazing as she continually manipulates Bart – through her vulnerability, sexual innuendo and desperation. The later scenes that contrast Cummins against Anabel Shaw’s Ruby Tare Flagler are brilliant. On the run from police, Bart and Laurie hide out at Bart’s sister’s house. A filthy faced, distraught Laurie deadpans: “Gee, what cute kids.”

THE WORST – The Clunky Courtroom Scene

To fully establish Bart’s character, we’re taken to a hearing where his juvenile fate is decided. After stealing a gun, he’s sent to a reform school – as decided in a lengthy courtroom scene, where all relevant exposition is introduced. It’s a necessary scene but feels long-winded.

FOX FORCE FIVE RATING – 4.25/5

Gun Crazy is an innovative film noir that maintains a quick tone and feels ahead of its time. The leads are terrific and the movie possesses a unique tone. A must watch.

The Inglorious Bastards

The Inglorious Bastards is a 1978 movie directed by Enzo G. Castellari.

The Inglorious Bastards tells the story of a group of escaped American prisoners who scheme their way into stealing a warhead. The movie features a classic men on a mission war narrative, contains endless shootings and explosions and is anchored by fun, quirky characters. Bo Svenson plays the cool Lieutenant Yeager, Peter Hooten is the snaky Tony, Fred Williamson the cocky Canfield and Michael Pergolani is the comedic Nick. The pacing, action and humor are superb throughout.

THE BEST – The Quirks

Any good World War II movie has to feature unique characters. Here, we see Williamson ask his rifle, “did you miss me, baby?” Pergolani is a walking supply depot, Jackie Basehart’s Burle is scared to death and Hooten’s Tony is continually plotting.

THE WORST – That Weird Romantic Ending

Hooten’s devious Tony, a pseudo mobster and conman, is smitten with Debra Berger’s Nicole – a nurse close to the Swiss border. Their relationship makes no sense and is based on two quick conversations. Yet, as the Bastards pull off their mission, Tony remains to reunite with his love. It’s an odd payoff – especially given the character’s unlikeable nature.

FOX FORCE FIVE RATING – 4/5

You can see the obvious influence this movie had on Quentin Tarantino. It’s funny, packed with action and features unique characters. A great watch.

The Big Gundown

The Big Gundown is a 1966 movie directed by Sergio Sollima.

WHAT HAPPENS?

A lawman pursues a peasant wanted for the murder of a young girl.

ONE LINE REVIEW

The Big Gundown is a raw, stylish Euro Western featuring two terrific acting performances.

THE ACTORS

Lee Van Cleef and Tomas Milian respectively star as unofficial lawman John Corbett and infamous bandit Cuchillo. Each actor gives what is probably their greatest Euro Western performance – which given their lengthy filmographies, is an impressive statement.

Van Cleef presents his usual stoic, sardonic toughness. He’s grim and measured but retains a maniacal edge. Yet he distinguishes himself in this role by showing decidedly human traits. Power broker Brokston will reward Corbett with a Senator position if he captures Cuchillo. Throughout the pursuit, Van Cleef’s character is continually tricked and needs help to accomplish his mission.

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Rocky Balboa

Rocky Balboa is a 2006 movie directed by Sylvester Stallone.

Rocky Balboa returns to the Rocky saga, as the aging boxer finds himself widowed and growing estranged from his son. Thanks to a computer simulation, Rocky receives another chance to fight for the heavyweight championship.

THE BEST – Stallone Gets to Act

Excepting the original, this is Stallone’s best acting job of the saga. He shines in a few strong scenes, including a dialogue in front of the athletic commission, exchanges with Geraldine Hughes’ Marie and a powerhouse speech to Milo Ventimiglia’s Robert. However, Stallone’s best moment comes as he’s flooded with emotion when he laments Adrian’s death. There’s genuine hurt and confusion that Stallone allows to the surface. It’s a brilliant moment – one of the best of the entire series.

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Death Rides a Horse

Death Rides a Horse is a 1967 movie directed by Guilio Petroni.

Death Rides a Horse tells the story of a young gunfighter and aging outlaw who form a loose alliance to track down the same bandits. Lee Van Cleef essentially plays his standard Western role – he’s a grizzled, cynical veteran of combat seeking revenge. John Phillip Law is the young sharpshooter out to avenge the death of his family by the same bandits Van Cleef is pursuing.

The movie presents a familiar EuroWestern formula, but it’s done well. Van Cleef commands a presence while Law is a likable and proficient hero. The cast of villains are both authentic and possess a stylistic sense of evil. Petroni creates a harsh, wind-swept environment but also adds flair with a series of technicolor flashbacks, some cool panning shots and the traditional Euro Western extreme close-ups.

THE BEST – Morricone

Ennio Morricone provides some brilliant, moody music throughout the movie – much of it borrowed by Quentin Tarantino for Kill Bill. Unlike other Euro Westerns, the music isn’t a hook and/or doesn’t create an atmosphere that the movie can’t match. It’s a beautiful blend.

THE BEST Part 2 – The Little Details

Petroni gives his characters some defining traits, as the lead character recognizes his family’s attackers. The four Aces tattoo, skull chain and jagged scars distinguish the movie’s antagonists from mere henchmen. Also, the story evolves to feature two archetypal villains – highlighted by Luigi Pistilli’s charismatic Walcott. There are fun touches found throughout – including a duel commenced by three piano key notes, a sweet trap door and plenty of fun one-liners – not to mention terrific action.

THE WORST – Sentimental Van Cleef

There are some awkward moments between Van Cleef and Law’s characters as the aging outlaw shows paternalistic empathy towards the young gunslinger. He references Law being the son he never had – possibly in an attempt to rationalize his own life. It’s an intriguing idea but it feels misplaced.

FOX FORCE FIVE RATING – 4/5

Death Rides a Horse is a moody, brutal but stylish Euro Western. Van Cleef turns in his usual solid performance and the cast of villains keeps things interesting.

Rocky V

Rocky V is a 1990 movie directed by John G. Avildsen.

Rocky V concludes the original saga as a suddenly broke Rocky faces brain damage and a splintering family. He begins to train a new protege, Tommy Gunn, who emerges as a target of greedy promoter George Duke. Rocky and Gunn’s relationship falters, which leads to a final showdown.

THE BEST – Stallone

Rocky V is certainly the weak link in the original saga but Stallone gives a solid performance. He’s given a significant amount of dialogue and while there are obvious stumbles, it’s a solid performance – especially as he navigates the evolution of the character.

THE BEST Part 2 – The Kid Gets a Name

For two straight movies, Rocky and Adrian’s son was only referred to as “the kid.” Worse, he was virtually abandoned in each movie while Rocky trained in far-off locations. In Rocky V, his family’s ill fortunes throw him into the streets of Philadelphia, where he struggles to survive. Needless to say, “Robert’s” a bit damaged emotionally. Sage Stallone does an admirable job as the lost Balboa son and contributes some of the movie’s more memorable scenes. His transformation from preppy, rich kid to street tough is a highlight of the movie.

THE BEST Part 3 – Pauly and Adrian Get Some Scenes

Talia Shire gives great effort throughout the movie but it’s obvious the hyper speed script does her no favors. She’s easily the most polished actor of the group but it never appears that she finds any footing here. Burt Young gets a couple of scenes to shine but a similar fate befalls him.

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Rocky IV

Rocky IV is a 1985 movie directed by Sylvester Stallone.

Rocky IV continues the saga of heavyweight boxing champion Rocky Balboa. In this sequel, Apollo Creed takes on Russian Ivan Drago in an exhibition that tragically ends. Rocky agrees to an unsanctioned fight in the Soviet Union, where he emerges triumphant.

THE BEST – Rocky Basically Ends the Cold War

If you’re tracking Rocky’s post-fight speeches, you’ll notice a huge leap. He’s convulsing like a wounded animal in the early movies – making non-sensical, guttural yelps. After defeating Drago and winning over the Soviet crowd, he turns political by noting the unifying quality of brute American strength. It’s pure Reagan-era propaganda and prodigious American ego.

And of course, it’s brilliant.

THE BEST Part 2 – Coked Up Training Montages

The evolution of Rocky training montages is a beautiful phenomenon. While the first two movies involve Rocky using his natural surroundings, Rocky IV finds our hero chopping down trees, outrunning KGB cars and climbing mountains. Stallone’s own transformation from beefy club boxer to chiseled action hero is on display – some of the herculean exercises he performs seem to be a love letter to his own ego.

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Rocky III

Rocky III is a 1982 movie directed by Sylvester Stallone.

Rocky III continues the saga of Rocky Balboa, as the champion faces his toughest competition yet in the form of Clubber Lang. Rocky has to face the death of his manager Mickey, while dealing with his own lack of confidence. Apollo Creed now teams up with Rocky to train him for an epic rematch.

THE BEST – Clubber Lang’s Promo

Physically, Mr. T isn’t that imposing but his vicious rhetoric throughout the movie creates a compelling villain. As Rocky’s statue is unveiled, Clubber Lang shows up and cuts a brilliant promo on Rocky, Mickey and Adrian. He seals the champ’s ire when he focuses on Adrian: “Hey woman, hey woman. I’ll show you a real man.” Later, during a pre-fight interview, we hear Mr. T utter his signature phrase. When asked about Rocky, he states: “I don’t hate Balboa but I pity the fool.”

THE BEST Part 2 – Pauly

Pauly officially becomes comic foil in this installment of the series, but Burt Young gets a lot of mileage out of the character. The fish out of water act as he arrives in Los Angeles produces some 80s humor but he shines as Stallone’s figurative punching bag. He gets pulled into the pool as Rocky swims laps, then hilariously spat on during the fight. I can only imagine the practical jokes pulled during this shoot.

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