The Lawless Breed

The Wild West in the post-Civil War years was synonymous with a lot of things, but maybe none more than the infamous gunslingers, gunfighters and pistoleros that roamed the country. Some are instantly recognizable like Billy the Kid, Jesse James, Wild Bill Hickok, while others don't have that notoriety. Take John Wesley Hardin for instance, reputed to have killed more than 40 people depending on what you read. Stick with Wikipedia though for any facts because 1953's The Lawless Breed...well, it's a steaming pile of you know what.

It's the years following the Civil War in Texas and young John Wesley Hardin (Rock Hudson) has grown up under a strict, God-fearing father who's tried to instill his own strict beliefs in his son. Wes as he's called, he's not interested. He's worked long and hard to be fast with a six-shooter and wants nothing more than to marry his longtime crush, Jane (Mary Castle), and start working at building up a farm where he can care for and sell horses. That's his plan at least. His father's actions push him away to the point young Wes finds himself in a saloon in a card game that goes poorly quickly. A man across the table draws first, but Wes outdraws him, killing him. Witnesses say otherwise though, forcing Hardin on the run as he tries to prove his innocence. The rewards and bounties grow larger and so does the body count as Wes tries to put the killing behind him (sort of). Can he though or will his name and reputation be too much?

My timing here is interesting. I'm currently reading Larry McMurtry's Streets of Laredo, his sequel to one of my favorite books, Lonesome Dove. John Wesley Hardin is a supporting character in the western novel, portrayed as an unhinged killer with no qualms about shooting anyone for any reason. Then, I saw this pop up on a movie channel and thought I'd give it a try. I shouldn't have...

From director Raoul Walsh, 'Breed' is based off the autobiography Hardin wrote about his life while serving a prison sentence in the 1880s/1890s. To say it stretches the truth a little is a massive understatement. It portrays Hardin as a kid who ends up in the wrong place time and time again and has to kill people over and over again because there's just no alternative. Yuck. Gag me. It's like an anti-revisionist western, hell-bent on portraying one of the west's more dastardly killers as...well, a decent guy! The script is a mess, drifting along far too much even at just 83 minutes, and though the casting is interesting (at times), most of it falls short because that source material is just so weak. Both in character portrayal and visual look, 'Breed' is too clean, too polished and too manicured as it tries to make a killer into the unlikeliest of heroes.

A rising star by 1953, Hudson gives it a go, but this isn't great casting for John Wesley Hardin. It tries to portray him as misunderstood but the next second it shows him as a bit of a scamp, a liar and a gambler who doesn't intend to keep his promises. If we're supposed to feel sympathy for this fella, there's an epic misfire. No matter what happens, the character just keeps digging deeper and deeper, never realizing it's all his fault and that he's to blame. If you're not on our "hero's" side, then things are going to get rough before they get better.

The rest of the cast has some name recognition, but again, the script does them no favors. Julie Adams is Rosie, the saloon girl turned potentially more with Wes, representing herself fairly well with a script that has her wearing very little and leaning forward a lot seductively. I'm sure her back was bothering her, nothing sinister about being able to see down her shirt/dress/blouse. In the oddity department, John McIntire plays dual roles, one as Wes' Bible-thumping Dad and the other as his more fun-loving but hard-working uncle. The Uncle is better than the Dad, but still, it's odd to just go along with.  Also look for Dennis Weaver, Lee Van Cleef, Michael Ansara, Forrest Lewis, and Hugh O'Brian in supporting parts.

I kept waiting for something enjoyable, entertaining or interesting to come along but to no avail. By the time the framing device of Wes and his autobiography wraps up...well, it's not good. The newspaper editor looks longingly off-camera and when asked how the story ends says "I'm not sure. It's a story that hasn't ended yet." The ending itself is laughable compared to Hardin's real-life death, read about that HERE with SPOILERS obviously, to the point I actually groaned when "The End" popped up on the screen. It's a B-western, but it's a bad one with very little other than the lovely Julie Adams to recommend giving it a watch. Give it a big, old wide berth!

The Lawless Breed (1953): */****

Sol Madrid

Though the name might not be instantly recognizable, director Brian G. Hutton has been at the helm of two of my favorite movies, both of them WWII flicks, Where Eagles Dare and Kelly's Heroes. He only directed nine movies while also acting in film and television so those directing efforts? Gotta scoop them up when you can. Turner Classic Movies helped me out last week, screening 1968's Sol Madrid.

An undercover Interpol officer with a checkered past, Sol Madrid (David McCallum) has been tasked with possibly his most dangerous mission yet. A longtime right-hand man to a Mafia boss in NYC, Harry Mitchell (Pat Hingle) has gone rogue and stole $500,000 from the boss while running away with said boss' girlfriend. The catch? Mitchell has a computer-like mind and is able to remember everything he's ever done for the Mob. If Interpol or the FBI can bring him in and convince him to testify, the case is almost a sure thing against the Mafia. Madrid follows some leads and finds out that Mitchell has headed south of the border to Mexico and is hiding out with a rival mob boss in Acapulco. How can Madrid get to him and then convince him? Well, it starts with finding the mob boss' girlfriend, Stacey (Stella Stevens), and convincing her to help with the promise of protection. Can it all work out?

Even considering the very cool cast assembled here, I'd never even remotely heard of this one. But courtesy of TCM, here we sit! This is a movie I wanted to love but ended up only liking it. I'll get into the cast more in a bit, but it's NUTS! Filmed in Acapulco, featuring an appropriately quirky score from Lalo Schifrin, and a style and winding story that seems like a 1960s bizarre-o film noir...'Madrid' should have been better. That's it. It just should have been better in plain and simple words. This is a 1960s crime thriller that is missing that one special thing to make it a really solid, memorable flick. As is? It's okay, pretty cool in moments, kinda dumb/weird in others.

That cast though....man, it's worth watching just to see the collection of talent assembled. Let's start with the other Man from U.N.C.L.E., David McCallum himself. He never grew into a huge star -- he's probably most well-known for his Ducky role in NCIS -- but it's always cool to see him in a leading role, especially an anti-hero role like this. We meet Sol Madrid as he's resting in an apartment full of drugged-out heroin users. What an introduction! From there, it's one cold-blooded decision after another, all the while observing what's going on around him and planning steps in advance of everyone around him. Brutal, calculating and looking at the bottom line, Madrid risks it all over and over again. And that name? Sol Madrid?!? Sounds very fake, but damn, I wish I had a badass, ridiculously goofy and cool name like that.

I'm a sucker for ensemble casts though, and what we've got here for 'Madrid' is pretty impressive. Stevens specialized in these type of roles in the late 60s and early 70s as the damaged woman so it's right in her wheelhouse! She certainly has some fiery scenes with McCallum's Madrid. How about some tough guys?!? Hey, everybody, it's Telly Savalas as Emil Dietrich, a drug supplier with a rivalry against the Mafia! Next up, Ricardo Montalban as Jalisco, another undercover officer and Madrid's contact who may be too comfortable in his job. Oh, and there's Rip Torn as Villanova, the mob boss with a vengeful streak right up his back. Not a bad group, huh?

Also look for Paul Lukas as an older, experienced mobster, Michael Ansara as a Mexican police officer, Perry Lopez as Francisco, Dietrich's enforcer, and Michael Conrad as Scarpi, a mafia hitman tasked with killing Madrid and Stacey.

Probably the biggest flaw in this 90-minute flick is the story. It's far from pointed and doesn't seem to know where it's going, where it wants to end up. To get his hands on Mitchell, McCallum's Madrid partners up with Dietrich to bring huge amounts of heroin into the U.S. In a painfully slow scene, we actually see the smuggling effort, bringing an already slow pace down to a snail's speed. Things pick up in the final act with some good twists and finally some action, but as a whole, this isn't a consistent movie. Decent, pretty entertaining but with some serious flaws.

Sol Madrid (1968): ** 1/2 /****

Day of the Animals

A few years back, October 2009 to be exact, I reviewed a dud of a movie made on a clearly pretty tight budget that rose above its cheapness to be 'So bad it's really good.' Okay, at least funny in an unintentionally way. That movie? 1976's Grizzly. It was a surprise success at drive-ins with fans to the point that a year later the stars and director returned with a similarly schlocky, generally pretty bad flick again dealing with some angry killer animals. Here we go with 1977's Day of the Animals.

In the mountains in northern California, experienced trail guide and outdoor enthusiast Steve Buckner (Christopher George) is readying to take a group of hikers on a several day hike. It's a mini-vacation offered away from society with little in the way of supplies, a way of getting back to nature. His group includes about 15 people, most of them city folks enjoying their time away from city life. But being dropped off by helicopters high up in the mountains, Buckner and his group quickly discovers something is very, very wrong. Animals are attacking them at an almost non-stop pace. What's going on? Can they survive or will the waves of animals wipe them out? They don't know it, but down below in the lower altitude towns, the population is dealing with exactly the same issue. Humanity....seems....doomed!!!!

Yikes, what a dumb, really dumb movie. Having directed Grizzly the year before (with George also starring and returning), director William Girdler is at the helm of another ultra-low budget drive-in special. It was made for cheap and intended for some cheap thrills. Can't go wrong, right? Well, you would think so. I liked the B-movie/disaster movie potential, but it never comes together. What exactly is driving the animals mad? The possibility that humans use of aerosol cans is ripping apart the ozone layer (Okay, we're doing a good job of that) and....lets radiation beat down on the Earth that turns animals into vicious, unstoppable killers. Oh, and some humans too but not all humans because that would make the story rather predictable, wouldn't it? I like my B-movies ridiculous and over the top, but don't hit me with a message!

Still, I figured there was enough going on here to make it watchable. Following the disaster movie formula, 'Animals' brings together a group of disparate individuals and lets us start guessing as to who will survive and who is just fodder for the vicious animals. No huge star power here, but definitely some familiar names. Going back to TV's The Rat Patrol, I've always been a fan of George, and he's having fun. His friendly, charming trail guide doesn't stretch any acting muscles, but it's not meant to be. Some of his hiking group include Richard Jaeckel as a bird-watching, photography-loving professor, Leslie Nielsen as an advertising executive with some anger issues, Michael Ansara as the wise Indian who knows all, and Ruth Roman has a Mom trying to bond with her nature-loving son.

That's as far as the name recognition goes, but there are some other interesting parts. Mrs. Christopher George, Lynda Day George, plays a TV newswoman trying to get away from work, Paul Mantee as an aging NFL star with a serious medical issue, and everyone else from a married couple looking to mend some wounds, a young couple in love, and Roman's son who needs a father figure. Who will make it? Who won't? Will anyone? That's part of the fun.

It cracked me up more and more as the movie went along. The premise is pretty cool, a variation on the Lost Patrol idea with a group of individuals banding together to survive, an enemy hovering all around them waiting to pick them up. Something never clicks though. The low budget most affects the actual animal attacks with some very cheesy special effects. For the most part, the sense of doom works better than anything. We see animals moving parallel to George's group, waiting to strike. Cheap filmmaking technique? Animals can look pretty scary just filming them so all Girdler had to do was film animals walk around and set those scenes to impending doom music from composer Lalo Schifrin (his score a bright spot). There are some scares along the way, but never as good as it could have been.

That's the entire movie. I wanted to like it, but it doesn't work. It's mindlessly entertaining but it's also a tad sluggish and never really picks up any momentum. Sure, it's cool to see character actors like George, Jaeckel, Nielsen and Ansara get their shot, but there's a limit. My limit? Nielsen's ad executive progressively getting hit with radiation. That translates to him taking his shirt off (All that is MAN!!!) and threatening to kill the men, rape the women and fight all the animals. By far, the funniest scenes in the movie.

Day of the Animals (1977): * 1/2 /****

The Comancheros

Following Texas' war for independence with Mexico in 1836, the expansive republic was on its own for government, economy and protection without help from outsiders. Who came to the forefront to help protect the fledgling republic? The Texas Rangers, and no, not the Major League Baseball team, instead a small group of law officers who patrolled Texas trying to protect its citizens. Recurring characters in the western genre, one of the best portrayals of the Rangers is 1961's The Comancheros.

It's 1843 when a Louisiana gambler, Paul Regret (Stuart Whitman), finds himself on the run following an accidental death in a duel. Regret heads for Texas but as he readies to disembark from the riverboat, he is instead arrested for murder by a Texas Ranger, Captain Jake Cutter (John Wayne). The duel was fair by all accounts, but the dead man was the son of a powerful judge who wants vengeance. Intending to bring Regret back to Louisiana, Cutter instead finds himself working with the man. All through the territory, Comanche raiding parties are attacking one ranch and homestead after another. Cutter has long thought the Comanches are being led by a gang of white men who pull the strings, but he has no proof. Posing as a gunrunner and with Regret as his somewhat unwilling partner, Cutter heads into Comanche territory and finds just what he thought he would, a gang of drifters, bandits and killers -- Comancheros -- working with the Comanches. Can they get out alive?

The 1960s were a big time for John Wayne. He wasn't just a box office star, but by now after 30-plus years in the business, he was a screen legend. This was the decade where -- for better or worse -- he started playing himself more than meaty roles like The Searchers, She Wore a Yellow Ribbon, and The Man Who Shot Liberty Valance. His mindset changed some as he started to make movies that typically had one objective....please the audience. These were movies meant to entertain, movies the whole family could go see. They would revolve around action-packed stories, good casts of familiar faces, great locations and whistle-worthy scores, movies like this one, The Undefeated, Sons of Katie Elder, McLintock!, Donovan's Reef and Hatari. This is a prime example of that type of movie. It's fun, exciting and with a whole lot of action. A groundbreaking, innovative western? Nope, but as far as popcorn movies go, it's hard to beat.

This obviously isn't a comedy western, but it isn't as dark and downbeat as the plot description might imply. For me, the best thing going for 'Comancheros' has always been the pairing of Wayne and Whitman, an Odd Couple pairing that works extremely well. It almost plays like a buddy western movie, the resolute Ranger and the roguish gambler. Wayne especially gets to show off a comedic side that most of his movies just didn't allow. His backwoods Ranger mispronounces Monsieur as Mon-sewer, providing some good laughs throughout. Whitman too looks right at home alongside the Duke, the duo exchanging some great dialogue scenes together on the trail. It looks easy watching them. Regret is far from a veteran trailsman, but he picks it up quick. Cutter bristles at times with his prisoner's unique ways, but thrust into a do-or-die situation, they end up becoming unlikely friends. Two good lead performances for sure.

While the A-list names might not be there, 'Comancheros' offers a very solid cast, one all western fans should appreciate. Lee Marvin makes what amounts to a cameo as Tully Crow, a brutal, vicious Comanchero, stealing the show and providing some great moments with Wayne in their scenes together. The one weak point is Ina Balin as Pilar, a beautiful young woman who falls for Regret and vice versa. Her scenes are pretty painful, especially as she "analyzes" love. Nehemiah Persoff is similarly a scene-stealer as Graile, the handicapped, brutal leader of the Comancheros with Michael Ansara as his sadistic henchman, Amelung, and also look for Jack Elam as one of the Comancheros. As for the other Rangers, look for Bruce Cabot as Major Henry and Patrick Wayne as Tobe, a young ranger along on the mission into Comanchero territory. Also look for the beautiful Joan O'Brien as Melinda, a widow who cares deeply for Cutter (and maybe more...uh-oh!) with Wayne's daughter Aissa playing Melinda's daughter.  

Looking at the credits, Michael Curtiz is listed as the director, but Curtiz became sick during filming and was unable to complete the movie, dying soon after its release. Wayne stepped in and directed in uncredited fashion, finishing the movie. The story itself is pretty episodic, the first 45 minutes spent with the hunt and escape and hunt and escape between Regret and Cutter. It covers a lot of ground before the Comancheros are even introduced, but it's never dull and never really slows down. There actually isn't a ton of action, but what's there is enjoyable. What is noteworthy is a talented cast clearly having some fun with a story that's hard not to go along with. Also worth mentioning, Elmer Bernstein's memorable score, especially the theme. Listen to it HERE. Get your popcorn ready, sit back and enjoy this one.

The Comancheros (1961): ***/****

Texas Across the River

Comedy westerns are completely hit or miss with me. With rare exceptions like Blazing Saddles, I do my best to avoid them. Every so often though, I've got to give them a try, like 1966's Texas Across the River, a pleasant surprise thanks mostly to its casting.

Readying to marry Southern belle Phoebe Ann Naylor (Rosemary Forsyth), Spanish duke Don Andrea Baldassare (Alain Delon) is confronted by another suitor for Phoebe. The suitor ends up dead -- due to an accident -- in the ensuing fight, and Andrea is forced to run. He heads across the border into Texas, still an unsettled territory. He's rescued from a sticky predicament with the pursuing cavalry by Sam Hollis (Dean Martin) and his Indian sidekick, Kronk (Joey Bishop). Owing them his life, Don Andrea -- a crack shot and fine horseman -- accompanies them as they travel into Texas toward the little settlement of Moccasin Falls. What are they up to? Sam and Kronk are gunrunners, but that's just the start. Warring Comanches, revenge-seeking cavalry and a love....square are just some of the hijinks around the corner.

Let's get this over with. This comedy western from director Michael Gordon is pretty stupid. There's something about westerns that doesn't translate well to comedies (if you ask me, and you are asking, right?). So that considered, if you're going to make a comedy set in the wild west, you can't be subtle. Be dumb, be stupid and go for the politically incorrect angle. Thankfully, 'Across' commits. It is dumb, but it isn't completely stupid either. The script has some good running bits, some solid sight gags, and is politically incorrect without being offensive. It's harmless enough, running 101 minutes, and doesn't overstay it's welcome.

What is worth it then about this flick? What caught my eye was the casting. An established star in Europe, Delon was creating quite a name for himself in America as well. He gets to play the fish out of water here, the European aristocrat who ain't quite familiar with the rough and tumble ways of the wild west, especially Texas. His counterpart in Martin's Sam is just the opposite. Dean Martin does what he does best, funny, effortless line deliveries, and he's cool all the way. The 31-year old Delon (handling much of his own stunts) and 49-year old Martin have an easygoing chemistry that goes wells with the slightly schizophrenic nature of the story and other characters. As peaceful Indian Kronk, Bishop (an obvious choice to play an Indian, don't you think?) is surprisingly funny. He gets to play the straight man to all the craziness as a deadpan Indian always ready with a clever one-liner.

There are plenty of other names to look out for, starting with Forsyth as Phoebe Ann, the Southern belle who never has a lack of suitors pursuing her. Her purpose here is to bat her eyes and look good which she accomplishes with ease, especially a not so subtle scene where she walks out of a pond with nothing but a clingy poncho on. Martin's reaction is priceless. Watch it HERE. Providing another love interest is Tina Aumont as Lonetta, a Comanche woman Don Andrea rescues from certain death. Peter Graves and Andrew Prine play Rodney and Sibley, brothers in the cavalry trying to get revenge for their dead brother. Michael Ansara has some fun as Iron Shirt, a Comanche chief trying to prove his son, Yellow Knife (Linden Chiles), isn't a complete screw-up.

Goofy though they may be, 'Across' does have its fair share of laughs. Much of it is of the physical variety, especially the opening fight scene at the wedding gone wrong. What bits work? When Ansara and his Comanches speak "Indian" the English subtitles appear. When they speak English, pictures appear, translating things back into Comanche. Delon keeps getting into trouble, Martin rescues him, Bishop wisecracks. The running bit about Graves' Rodney's indecipherable cavalry commands is funny as well. Smart humor this is not, but I enjoyed it just the same. Not a classic, but still worth a watch for western fans, especially for the fun the cast looks to be having.

Texas Across the River (1966): ***/****

Jack Sparrow's long-lost relatives

In 2003, Johnny Depp as Captain Jack Sparrow helped revitalize the pirate movie with the hugely popular and trilogy spawning Pirates of the Caribbean: Curse of the Black Pearl.  Basically, he made pirates cool again mostly because Depp is one of the coolest actors around.  For years though, the pirate movie had been a thing of the past -- other than the box-office bomb Cutthroat Island -- after being extremely popular in the Hollywood studio era.  The star most often associated with these swashbuckling roles was Errol Flynn, but many actors took to the high seas as a pirate.

Where Flynn was an ideal choice to play a pirate -- roguish but not a killer, smooth but particularly vicious at times -- those other actors had their work cut out for them...usually because they were compared to Flynn.  Some were better than others, but I watched two recently that certainly qualify in the odd casting department, Paul Henreid in 1945's The Spanish Main and Sterling Hayden in 1952's The Golden Hawk.  I typically think of Henreid as a second banana, and I questioned whether Hayden has the on-screen presence to overact as pirates normally do in any number of extravagant ways.  Safe to say, neither is Johnny Depp, but here goes.

Given away as a bride to the viceroy of Cartagena, Spanish contessa Francesca (Maureen O'Hara) is en route when her ship is attacked by the Barracuda, an infamous pirate ship in the Caribbean captained by Laurent Van Horn (Henreid).  She is taken prisoner, and Van Horn demands that she marry him.  Bargaining to save the life of the crew, Francesca agrees.  But the viceroy (Walter Slezak) hears of this and is none too pleased because he's long hunted Van Horn.  The pirate thinks he is in the free and clear with his new wife, but his crew and the pirate code say he has broken their rules.  Nothing comes easy as a pirate.

First off, the casting.  Henreid is not the right choice to play a swashbuckling pirate.  He's too much of a dandy and to say the least, is not intimidating.  He does little of his own stunts with an obvious double stepping in for him.  You want to root for him as he takes on the evil viceroy, but it's hard to get behind him.  O'Hara is quite the looker here with her strikingly red hair, but she's an Irish actress playing a Spanish contessa.  Something doesn't add up, especially when she tries a Spanish accent.  Slezak isn't much of a bad guy either as the somewhat vicious but mostly stupid viceroy.  It's all wrapped up nicely with a bow in the end.

Read any of my previous reviews of a Sterling Hayden movie, and you'll get the same idea with each one.  He's at his best when he's playing the steely-eyed hero.  Ask him to show too much emotion or fire, and it gets awkward real quick.  Transferring that thought, a pirate might not be the ideal choice for a part.  Honestly, Hayden is the least of the problems in The Golden Hawk.  It's a B-movie and not a good one.  The script is awful having characters who hate each other fall madly in love with each other because the story requires it and little else.  'Hawk' has a cheap look to it, lots of studio work, and miniatures serving for any shots of cities or ships sailing the ocean blue.

If you're looking for a plot description, read the one from 'Spanish Main' but replace the actors names.  Hayden is a French (really? French? That's a good one) pirate looking to avenge his mother's death years before.  Hayden's Kit 'the Hawk' Gerardo sails the seas taking down any ship he can.  On board one of theses ships he captures a beautiful woman (Rhonda Fleming) who ends up being a rival pirate.  Throw in a kidnapped Spanish wife who's married to the evil captain, and you've got this stinker.  Look for Michael Ansara in a good supporting part as Bernardo, one of Kit's men.  Other than that, pass on this one in a big way.

The moral of the story after seeing these two pirate movies is this; stick with Errol Flynn and his swashbuckling pirate movies where money was spent on casting, costuming and getting a decent story to work with.  Henreid and Hayden just aren't cut out for parts as pirates, but it's not like the rest of these movies helps out.  O'Hara and Fleming both look great and its refreshing to see some take no crap badass chicks in older movies, but they're lost in a sea of bad movie.

The Spanish Main <---trailer (1945): **/****  
The Golden Hawk (1952): */****

Guns of the Magnificent Seven

Now this may just be me, but George Kennedy doesn't resemble Yul Brynner too much. After two Magnificent Seven movies with Brynner as the star, the third movie starred a new 'Chris' leading a new 7, Kennedy. Of course the posters over at IMDB have to nail this down. So is he the same character? A different man named Chris? Did he undergo extensive plastic surgery? Okay, maybe not that last one, but you get the idea.

Three years removed from Return of the Magnificent Seven comes director Paul Wendkos' take on the popular series, 1969's Guns of the Magnificent Seven. It's a departure from the first two movies with Kennedy, a year removed from his Oscar from Cool Hand Luke, stepping into the saddle. But where 'Return' was basically a rehash of the original classic, 'Guns' gets points for originality both in story and casting. Also, having Elmer Bernstein's score doesn't hurt, especially with some new notes in the music.

Deep in Mexico, a revolutionary leader, Quintero (Fernando Rey) is captured by a sadistic Mexican colonel, Diego (Michael Ansara), who runs a prison that resembles a fortress more than anything else. One of Quintero's most loyal followers, Maximilliano (Reni Santoni) heads north to look for help in getting Quintero out of prison before it's too late. In a border town, Max finds a man named Chris (Kennedy) who's in the process of saving another man, Keno (Monte Markham), from a lynch mob. Chris agrees to help out and assembles a group of specialists to help him in the prison break. They seek help from a local bandit Lobero (Frank Silvera) and his gang -- quite a change of pace since the 1st one, huh? -- but the odds still seem impossible.

The Seven: Kennedy is more than capable of handling the lead role, and while he doesn't look like Brynner at all, he brings the same characteristics to the part; loyal, honest, and always willing to stand up for the downtrodden. As for the other six, this is by far the most unique group when comparing the three sequels. Markham as Keno, the Steve McQueen right hand man role, isn't given a ton to do after his introduction, but as a right hand man, he does what he's supposed to; look cool while helping the leader. Santoni's Max is a youngster with little fighting experience but who wants nothing more than to join the fight.

In adding a black character, Bernie Casey's Cassie, a dynamite expert, the dimension of race is added and even more so with another member of the seven, Slater (Joe Don Baker), a one-armed Confederate gunslinger. Cassie and Slater would seem to have nothing in common, but a friendship develops when they realize how similar they really are. James Whitmore, as solid as ever, plays Levi, an aging knife fighter who's settled down with a family but takes the job for the $. Adding some depth to the character, Levi bonds with Emil (Tony Davis), a young Mexican boy looking for his father. Unfortunately, the 7th member, P.J. (Scott Thomas) receives little development which is a shame because a expert gunfighter/rope thrower dying of tuberculosis has some potential.

The Villain: A definite step up here after Emilio Fernandez's part in 'Return.' Michael Ansara plays Diego to a T. He's a sadistic commandant trying to snuff out the revolution in his district no matter what the cost, especially when it comes to torturing his prisoners. One torture scene midway through the movie shows a creative way to take care of prisoners, bury them in sand up to their throats and then trample and suffocate them with horses walking all around them. Ansara's Diego isn't as developed as much as Calvera or Lorca, but he's just a straight bad guy and sometimes that's all you need.

Some critics said this movie is too slow-going and to be fair, there isn't a ton of action. But really, none of these movies are action-packed. Characters are introduced, we get to know them, and then throw in the action so that when some of the 7 do eventually die, their deaths mean something emotionally. The finale in 'Guns' is on par with the shootout at the end of the original. Finally ready for their assault, Chris leads the 7 and a small group of farmers in an attack on Diego's prison, dubbed the 'Cave of the Rats,' and his 200-man garrison.

It's loud, chaotic and violent, and completely different from the rest of the series. For one, the 7 go on the attack instead of waiting to be attacked against larger numbers. Second, two characters are killed almost at the outset of the battle, and for awhile it looks like the plan might actually fail. Semi-SPOILER I'm convinced Max was supposed to die, he gets absolutely riddled by at least 3 Mexican soldiers, but he's there at the end, apparently just wounded. This would have been the first Mag7 movie to kill 5 of the 7 END OF SPOILER. The attack is a great action sequence from start to finish, and the prison set looks pretty cool too, and even with some other surprises as to who survives and who doesn't to keep you guessing.

A worthy sequel to the original for sure. It does justice in every way while still putting its own spin on a familiar story. Good casting and a strong script that really fleshes out the new members of the Magnificent Seven with a great, action-packed finale. Next up...the finale, The Magnificent Seven Ride!

Guns of the Magnificent Seven <----trailer (1969): ***/**** (Best tagline ever: 7 Against 700; They Just Couldn't Lose!) MASSIVE SPOILERS: Cool fan-made video breaking movie down