FROM NOON TILL THREE (1976) – Charles Bronson, the comedian??!


During the height of his popularity in 1976, Charles Bronson tried something quite different with this romantic comedy costarring his wife Jill Ireland. And to be honest, he’s darn funny in the role.  This movie has grown on me over the years. 

Bronson plays Graham Dorsey, a bank robber who spends an afternoon with the lonely widow Amanda Starbuck (Ireland) while his gang is robbing a bank in town.  After his gang is all killed during the robbery, Dorsey must take off and go into hiding, eventually being arrested for impersonating a quack dentist. While he’s in jail, and through a variety of circumstances, a book is written about their afternoon together and it becomes an international sensation.  As soon as Dorsey gets out of jail, he goes back to Starbuck’s home to rekindle their affair. Unfortunately for Dorsey, the book has created such a legend of him and their affair that Ms. Starbuck doesn’t even recognize the man he really is.  His method of convincing her that he’s the “real” Graham Dorsey is the funniest moment in Bronson’s entire filmography. 

Charles Bronson & Jill Ireland are clearly having a wonderful time making this movie together, which is one of the main reasons I enjoy the film.  He may not have done it often, but Bronson could play comedy and he’s excellent in this film cast completely against his normal type.  Jill Ireland is also very good as the widow Starbuck and her rendition of the song “Hello and Goodbye” was even nominated for a Golden Globe for Best Song.  We had the privilege of interviewing Jill Ireland’s niece, Lindsay Ireland, and she told us of singing this song with her aunt Jill and her cousin when she would spend summers with them in Vermont in the 70’s. It’s so fun for me to hear firsthand about those times when the Bronson’s were one of the biggest celebrity couples of the world!  The best part, Bronson valued his time with his family over anything else. They were everything to him.

**BONUS CONTENT** – I’ve included a link to the “This Week in Charles Bronson” podcast episode where Lindsay Ireland describes her time with her aunt Jill Ireland, and how they would sing “Hello & Goodbye,” the song that was in FROM NOON TILL THREE, while they were driving down the roads in Vermont. It’s a really nice insight into Jill Ireland.

Book Review: Not Even Nominated by John DiLeo


Rod Steiger won an Oscar for playing Chief Gillipsie in In The Heat of the Night but his co-star, Sidney Poitier, wasn’t even nominated.  Despite the fact that Poitier delivered the line that everyone remembers — “They call me Mr. Tibbs!” — the Academy saw fit not nominate him alongside his co-star.

Timothy Hutton won an Oscar for his wonderful performance in Ordinary People but Donald Sutherland, cast against type as his conservative father and giving a heartfelt and heart-breaking performance, was not nominated.

In 1949, Walter Huston won a deserved Oscar for his performance in The Treasure of the Sierra Madre but, somehow, Humphrey Bogart was left out of the nominations.

Martin Landau was honored for playing Bela Lugosi in Ed Wood but Johnny Depp, playing the film’s title character, was ignored.

It’s something that has been happening since the announcement of the very first Academy Award nominations.  Someone will win an Oscar and usually, they very much deserve it.  Often, they’re a very popular winner because they’ve either overcome adversity or they’ve been nominated several times in the past without winning.  But, in all the excitement over their victory, their equally worthy co-stars are overlooked.

John DiLeo’s Not Even Nominated takes a look at forty overlooked co-stars of Oscar-winning performers.  Along with those that I mentioned at the start of this review, DiLeo also writes about performances from everyone from Charles Farrell in Seven Heaven to Cary Grant in The Philadelphia Story to Joseph Fiennes in Shakespeare in Love and Samuel L. Jackson in Django Unchained.  Some of DiLeo’s picks are familiar to film lovers.  The fact that Poitier wasn’t even nominated in 1968 despite starring in three popular and acclaimed films is something that has been discussed in many books and cultural histories.  But DiLeo also gives some time to some equally strong performances that aren’t always cited, like Ryan O’Neal’s performance in Paper Moon and Dirk Bogarde’s turn in Darling and Stephen Boyd’s brilliant (and rather brave) work in Ben-Hur.

It makes for interesting reading.  (It helps the DiLeo has an opinionated but enjoyable writing style.)  For Oscar obsessives like you and me, it’s a must-have.

6 Things That I’m Looking Forward To In January


It’s January!

Traditionally, as far as pop culture goes, January doesn’t get much respect.  If a studio has a film that they knew isn’t going to be a hit with critics or audiences, January is where they usually dump it with the full knowledge that, as bad as it is, everyone will have forgotten about it by the time summer rolls around.  The same can often be said of publishers.  With everyone busy getting caught up on what they missed during the last few months of the previous year, chances are that they won’t notice a few bombs dropped on the cultural landscape.  That’s the theory anyways.

But, you know me!  I’m an optimist.  And I remain convinced that, even in January, there are things to which we can look forward,  And here’s six of those things!

(Why six?  Because Lisa Marie doesn’t do odd numbers!)

  1. The Oscars

Yes, it’s that time of year!  The Oscar nominations are going to be announced on January 17th!  That’s two and a half weeks from now!  Obviously, I’ve got quite a bit that I still need to watch.  Wish me luck!

2. Sundance Film Festival

The first big film festival of the year opens on January 23rd.  Which films will emerge as Oscar contenders from this year’s festival?  It’s also possible that this year’s Sundance could be the last to be held in the snowy mountains of Utah.  If Sundance does move to either Boulder or Cincinnati, this year’s festival will indeed be the end of an era.  (Quite frankly, it’s hard for me to imagine a Sundance Film Festival without snow.)

3. Wolf Man

Directed by Leigh Whannell, the latest version of the Wolf Man will be released on January 17th.  Will this Wolf Man be as full of self-pity as Lon Chaney Jr’s version was?  We’ll find out!

4, Presence

As a filmmaker, Steven Soderbergh can be hit-or-miss.  He’s directed some truly brilliant films.  He’s also directed some rather pretentious dreck.  His latest film, Presence, appears to be a horror film but, knowing Soderbergh, there will probably be some twist that will annoy me to no end.  That said, the film stars Lucy Liu and she’s someone who definitely deserves to make a comeback.  The film is due to be released on the 24th and I’m hoping for the best!

5. Screamboat

This is apparently a horror version of Steamboat Willie.  This movie is probably going to suck but I’m just curious to see whether it’s going to be merely forgettable or a full-on disaster.  Screamboat is destined to ruin some childhood memories on January 24th.  Normally, I’d assign Case to check this out for us but I don’t think he’s forgiven me for making him watch Escape From Tomorrow.

6. Back In Action

Cameron Diaz came out of retirement to star in this action comedy.  The script must have been really amazing, right?  Uhmm….right?  We’ll find out when the film is released on January 17th.

What are you looking forward to in January?  Let us know in the comments!

THE MECHANIC (1972) – Celebrate the New Year with one of Charles Bronson’s most iconic roles!


THE MECHANIC features an iconic performance by Charles Bronson, a performance that would represent a blueprint for the type of character he would play in many films…the strong, silent, unstoppable, man of action.  Bronson plays Arthur Bishop, a hit man with a gift for planning and executing his hits in a way that make the deaths look like natural deaths rather than murders.  Facing health issues and loneliness, he takes on a young protégé named Steve McKenna, played by Jan-Michael Vincent.  This upsets his bosses in the underworld because he takes on the apprentice without asking them.  Will they allow him to train up this new protégé and complete tag team hits going forward, or will they decide that Bishop is no longer worth the risk?          

I’ll start off by stating up front that I love THE MECHANIC.  The first Charles Bronson movie I ever owned on VHS was a nearly unwatchable, 2nd hand version of the film, but I still tried to watch it.  The first Charles Bronson movie I ever saw on the big screen was a beautiful 35mm print of the film at the Mahoning Drive-in theater in Lehighton, PA.  I also believe that this film has the best ending of any Charles Bronson film.  Needless to say, the following review will be full of praise, so if you’re looking for a real critical take on the piece, this is probably not the place to look!

To start off, THE MECHANIC has a uniquely amazing opening sequence.  The first 16 minutes of the film features hitman Bishop going through the mundane tasks of setting up a hit.  We watch him set up shop across the street from the mark, we watch him break into the mark’s apartment to rig the things needed to accomplish the hit, we watch him squeeze a wax ball, etc.  Bishop speaks no dialogue during these 16 minutes, and the only things we hear are the sounds of the soundtrack and the street.  Bronson’s unique screen presence makes it mesmerizing.  Could you imagine an action film trying this strategy in this day and age?   

Once Bishop has successfully completed the first hit, we’re introduced to Bishop’s world outside of what we’d observed during the opening sequence.  We meet Harry McKenna (Keenan Wynn), the “uncle-like” figure who has gotten himself in trouble with the organization.  We’re not surprised who’s given the job to eliminate this problem.  We meet Harry’s son Steve (Jan-Michael Vincent) who hits it off with Bishop at the funeral where their relationship really begins.  On a side note, the film’s script featured these two characters as gay men, and the sexuality element was going to be a major way that Steve would get close enough to Bishop to gain his trust.  That part of the script was changed to get Bronson and secure financing for the film.  Since that element is not part of the movie I’ll move on.  We meet a prostitute (Jill Ireland) who’s visited by Bishop.  This is a very interesting scene that gives us a strong insight into just how lonely Bishop is and also helps us understand why he’s open to the idea of bringing on an apprentice.  I think Jill Ireland is quite effective in her one scene.

Once the various characters are introduced, the film settles nicely into a mentoring relationship between Bishop & Steve.  The experienced hitman shares his knowledge, and we follow along with them as they complete various assignments.  The movie seems most interested in the relationship between the men, but this is an action movie, so we have a couple of very solid action sequences in the middle portion of the film, as well as the end.  Director Michael Winner, who directed Charles Bronson in six different films, stages these sequences extremely well, especially the sequence that ends the film in Naples, Italy.  We see necks snapped.  We see faces knuckle punched.  We see a motorcycle chase ending with a motorcycle flying off a cliff and exploding into a ball of flames upon impact.  We see boats exploding.  We see Bronson using my favorite weapon, the pump shotgun, with expert precision.  We see cars chasing each other along the Italian coast.  We see bombs being dropped out of moving cars with precision timing to blow up the cars behind them.  We even see a bulldozer pushing a moving car off the side of a cliff.  It’s some amazing stuff, with Bronson & Vincent appearing quite badass at times.  And then the ending, the ending that proves just how awesome Bishop truly is!  I won’t say anymore about that.  Just watch and enjoy! 

**BONUS CONTENT** – We dedicated an episode of the “This Week in Charles Bronson” podcast to THE MECHANIC. It was one of the most enjoyable episodes for me to record. If you’re interested in learning more about the film from a group of guys who love Charles Bronson, give it a listen!

4 Shots From 4 Films: Special New Year’s Edition


4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking.

Happy New Year’s Day!  Did you have as wonderful a celebration as the characters featured in today’s special edition of 4 Shots From 4 Films?

4 Shots From 4 Films

The Poseidon Adventure (1972, dir by Ronald Neame, DP: Harold E. Stine)

The Godfather Part II (1974, dir by Francis Ford Coppola, DP: Gordon Willis)

New Year’s Evil (1980, dir by Emmett Alston, DP: Edward Thomas)

Once Upon A Time In America (1984, dir by Sergio Leone, DP: Tonino Delli Colli)

Lisa Marie’s Oscar Predictions For December


With the 2024 coming to a close and awards season in full swing, the Oscar race has become a lot clearer.  For the last time this year, here are my monthly Oscar predictions!

Be sure to check out my predictions for AprilMayJuneJuly, August,  September, October, and November!

Best Picture

Anora

The Brutalist

A Complete Unknown

Conclave

Dune Part Two

Emilia Perez

Nickel Boys

Sing Sing

The Substance

Wicked

Best Director

Sean Baker for Anora

Brady Corbet for The Brutalist

Coralie Fargeat for The Substance

RaMell Ross for Nickel Boys

Denis Villeneuve for Dune Part Two

Best Actor

Adrien Brody in The Brutalist

Timothee Chalamet in A Complete Unknown

Daniel Craig in Queer

Colman Domingo in Sing Sing

Ralph Fiennes in Conclave

Best Actress

Cynthia Erivo in Wicked

Marianne Jean-Baptiste in Hard Truths

Mikey Madison in Anora

Demi Moore in The Substance

Kate Winlset in Lee

Best Supporting Actor

Yura Borisov in Anora

Kieran Culkin in A Real Pain

Edward Norton in A Complete Unknown

Guy Pearce in The Brutalist

Denzel Washington in Gladiator Part II

Best Supporting Actress

Aunjanue Ellis-Taylor in Nickel Boys

Ariana Grande in Wicked

Felicity Jones in The Brutalist

Margaret Qualley in The Substance

Zoe Saldana in Emilia Perez

Here Are The 2024 Nominations Of The Georgia Film Critics Association


Earlier today, the Georgia Film Critics Association announced its nominees for the best of 2024!  The winners will be announced on January 7th,

Best Picture
“Anora”
“The Brutalist”
“Challengers”
“Conclave”
“Dune: Part Two”
“Flow”
“Nickel Boys”
“Sing Sing”
“The Substance”
“Wicked”

Best Director
“Anora” – Sean Baker
“The Brutalist” – Brady Corbet
“Dune: Part Two” – Denis Villeneuve
“Nickel Boys” – RaMell Ross
“The Substance” – Coralie Fargeat

Best Actor
Adrien Brody (“The Brutalist“)
Timothée Chalamet (“A Complete Unknown“)
Colman Domingo (“Sing Sing“)
Ralph Fiennes (“Conclave“)
Keith Kupferer (“Ghostlight“)

Best Actress
Lily-Rose Depp (“Nosferatu“)
Cynthia Erivo (“Wicked“)
Marianne Jean-Baptiste (“Hard Truths“)
Mikey Madison (“Anora“)
Demi Moore (“The Substance“)

Best Supporting Actor
Yura Borisov (“Anora“)
Kieran Culkin (“A Real Pain“)
Clarence Maclin (“Sing Sing“)
Guy Pearce (“The Brutalist“)
Denzel Washington (“Gladiator II“)

Best Supporting Actress
Danielle Deadwyler (“The Piano Lesson“)
Aunjanue Ellis-Taylor (“Nickel Boys“)
Ariana Grande-Butera (“Wicked“)
Katy O’Brian (“Love Lies Bleeding“)
Margaret Qualley (“The Substance“)
Zoe Saldaña (“Emilia Pérez“)

Best Original Screenplay
“Anora” – Sean Baker
“The Brutalist” – Brady Corbet, Mona Fastvold
“Challengers” – Justin Kuritzkes
“A Real Pain” – Jesse Eisenberg
“The Seed of the Sacred Fig” – Mohammad Rasoulof
“September 5” – Moritz Binder, Tim Fehlbaum, Alex David
“The Substance” – Coralie Fargeat

Best Adapted Screenplay
“Conclave” – Peter Straughan
“Dune: Part Two” – Denis Villeneuve, Jon Spaihts
“Nickel Boys” – RaMell Ross, Joslyn Barnes
“Sing Sing” – Greg Kwedar, Clint Bentley
“Wicked” – Winnie Holzman, Dana Fox

Best Cinematography
“The Brutalist” – Lol Crawley
“Dune: Part Two” – Greig Fraser
“Inside the Yellow Cocoon Shell” – Đinh Duy Hưng
“Nickel Boys” – Jomo Fray
“Nosferatu” – Jarin Blaschke

Best Production Design
“The Brutalist” – Judy Becker, Patricia Cuccia
“Dune: Part Two” – Patrice Vermette, Shane Vieau
“Furiosa: A Mad Max Saga” – Colin Gibson, Katie Sharrock
“Nosferatu” – Craig Lathrop
“Wicked” – Nathan Crowley, Lee Sandales

Best Original Score
“The Brutalist” – Daniel Blumberg
“Challengers” – Trent Reznor & Atticus Ross
“Conclave” – Volker Bertelmann
“Dune: Part Two” – Hans Zimmer
“The Wild Robot” – Kris Bowers

Best Original Song
“Ain’t No Love in Oklahoma” – Jessi Alexander, Luke Combs, Jonathan Singleton (“Twisters“)
“Compress/Repress” – Trent Reznor, Atticus Ross (“Challengers“)
“El Mal” – Clément Ducol, Camille, Jacques Audiard (“Emilia Pérez“)
“Kiss the Sky” – Delacey, Jordan K. Johnson, Stefan Johnson, Maren Morris, Michael Pollack, Ali Tamposi (“The Wild Robot“)
“Sick in the Head” – Móglaí Bap, Mo Chara, DJ Próvaí, Adrian Louis Richard Mcleod, Toddla T (“Kneecap“)

Best Ensemble
“Conclave”
“Dune: Part Two”
“Saturday Night”
“Sing Sing”
“Wicked”

Best International Film
“All We Imagine as Light”
“Flow”
“Kneecap”
“Red Rooms”
“The Seed of the Sacred Fig”

Best Animated Film
“Flow”
“Inside Out 2”
“Memoir of a Snail”
“Wallace & Gromit: Vengeance Most Fowl”
“The Wild Robot”

Best Documentary Film
“No Other Land”
“The Remarkable Life of Ibelin”
“Sugarcane”
“Super/Man: The Christopher Reeve Story”
“Will & Harper”

Breakthrough Award
Clarence Maclin
Mikey Madison
Katy O’Brian
RaMell Ross
Maisy Stella

Oglethorpe Award for Excellence in Georgia Cinema
“Civil War” (Alex Garland)
“Color Book” (David Fortune)
“The Forge” (Alex Kendrick, Stephen Kendrick)
“The Idea of You” (Michael Showalter, Robinne Lee, Jennifer Westfeldt)
“Juror #2” (Clint Eastwood, Jonathan A. Abrams)
“Makayla’s Voice: A Letter to the World (short; Julio Palacio, Makayla Cain)
“The Piano Lesson” (Malcolm Washington, Virgil Williams, August Wilson)
“The Preakness (short; Akshay Bhatia)
“Saturday Night” (Jason Reitman, Gil Kenan)
“The South Got Something to Say” (Ryon Horne, Tyson Horne, Ernie Suggs, DeAsia Paige)

Here Are The 2024 Nominations of the Kansas City Film Critics Circle!


Yesterday, The Kansas City Film Critics Circle announced their nominations for the best of 2024!  The winners will be announced on January 4th!

BEST FILM
Anora
Civil War
Conclave
Dune: Part Two
I Saw The TV Glow
Nickel Boys
A Real Pain
Sing Sing
The Substance
Wicked

ROBERT ALTMAN AWARD FOR BEST DIRECTOR
Sean Baker – Anora
Jon M. Chu – Wicked
Coralie Fargeat – The Substance
RaMell Ross – Nickel Boys
Denis Villeneuve – Dune: Part Two

BEST ACTOR
Timothée Chalamet – A Complete Unknown
Timothée Chalamet – Dune: Part Two
David Dastmalchian – Late Night with the Devil
Colman Domingo – Sing Sing
Ralph Fiennes – Conclave

BEST ACTRESS
Cynthia Erivo – Wicked
Karla Sofía Gascón – Emilia Pérez
Mikey Madison – Anora
Demi Moore – The Substance
June Squibb – Thelma

BEST SUPPORTING ACTOR
Yura Borisov – Anora
Kieran Culkin – A Real Pain
Chris Hemsworth – Furiosa: A Mad Max Saga
Clarence Maclin – Sing Sing
Adam Pearson – A Different Man
Jeremy Strong – The Apprentice
Denzel Washington – Gladiator II

BEST SUPPORTING ACTRESS
Joan Chen – Didi
Danielle Deadwyler – The Piano Lesson
Ariana Grande – Wicked
Margaret Qualley – The Substance
Zoe Saldana – Emilia Pérez

BEST ORIGINAL SCREENPLAY
Anora
The Brutalist
Civil War
A Real Pain
The Substance

BEST ADAPTED SCREENPLAY
Conclave
Dune: Part Two
Nickel Boys
Sing Sing
The Wild Robot

BEST CINEMATOGRAPHY
The Brutalist
Civil War
Dune: Part Two
Gladiator II
Nickel Boys
Nosferatu
Wicked

BEST ORIGINAL SCORE
Challengers
Conclave
Dune: Part Two
The Substance
The Wild Robot

BEST ANIMATED FEATURE
Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

BEST FOREIGN LANGUAGE FILM
All We Imagine as Light
Emilia Pérez
Flow
I’m Still Here
Kneecap
Twilight of the Warriors: Walled In

BEST DOCUMENTARY
Dahomey
Look Into My Eyes
Seeking Mavis Beacon
Sugarcane
Super/Man: The Christopher Reeve Story
Will & Harper

VINCE KOEHLER AWARD FOR BEST SCIENCE FICTION/FANTASY/HORROR
Dune: Part Two
I Saw The TV Glow
Late Night with the Devil
Nosferatu
The Substance

TOM POE AWARD FOR BEST LGBTQ FILM
I Saw The TV Glow
Emilia Pérez
Love Lies Bleeding
My Old Ass
Will & Harper
Queer

BUSTER KEATON AWARD FOR BEST STUNT ENSEMBLE FILM
Deadpool & Wolverine
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Monkey Man

THE TALL T (1957) – Budd Boetticher and Randolph Scott, a match made in heaven!


There was a time in my life, before streaming existed, where it seemed like I wanted to buy every movie that interested me in the slightest. The main ways I looked for new movie releases was to go to a store like the Hastings Entertainment Superstore and look at their inventory, or look at the new and recent releases on Amazon’s online store. I could spend hours looking for movies in either location, and I did. Sometime in 2008, I ran across a DVD box set described as “The Films of Budd Boetticher” that contained introductions by the likes of Martin Scorsese, Taylor Hackford, and Clint Eastwood. The films included on the box set were THE TALL T, DECISION AT SUNDOWN, BUCHANAN RIDES ALONE, RIDE LONESOME, and COMANCHE STATION. I remember seeing the names of these movies at various times in my life in my movie books. They had never really caught my attention, although I do remember that they would receive good reviews. This set did catch my attention, however, based on the interesting packaging and the fact that Scorsese and Eastwood were both singing the praises of the films. I did a little bit of quick research and decided to just buy the boxset. I’m glad to report that these films have turned into some of my very favorite movies, and I sing their praises to anyone who will listen.

Version 1.0.0

The earliest movie in this set is THE TALL T from 1957, which is based on Elmore Leonard’s short story, “The Captives.” The story opens with our hero Pat Brennan (Randolph Scott) stopping by the Sassabee Stagecoach Station and visiting with the owner Hank (Fred Sherman) and his son, Jeff (Christopher Olsen). Brennan seems like a good-natured guy who has a nice visit with the two and even agrees to purchase young Jeff some striped candy when he stops in the town of Contention later that day. Brennan heads on to Contention where we meet Ed Rintoon (Arthur Hunnicutt), a stagecoach driver who has been hired to take Willard and Doretta Mims (John Hubbard and Maureen O’Sullivan) to Bisbee for their honeymoon. Rintoon and Brennan are clearly old friends. As part of their various conversations, we learn that Doretta Mims is the daughter of Old Man Gateway, the man with the richest copper claim in the territory. After saying goodbye to Rintoon and buying young Jeff his striped candy, Brennan continues on to Tenvoorde’s (Robert Burton) ranch, in hopes of buying a seed bull for his own start-up ranch. For many years, Brennan had been the ramrod on Tenvoorde’s ranch, and the old man clearly wants him to come back. Tenvoorde offers Brennan a chance to get his bull for nothing, but he has to ride the bull to a stand still. If he can’t do it, then Tenvoorde keeps the bull and Brennan’s horse. Brennan takes him up on the offer, falls off the bull, dives into water trough to avoid getting stomped by the bull, and then heads back towards his ranch with nothing but his wet clothes and saddle. As he’s walking down the road, Rintoon comes by on his stagecoach with Mr. and Mrs. Mims. They pick Brennan up and give him a ride. When they stop back at the Sassabee Stagecoach Station, Hank and Jeff are nowhere to be seen. Rather, a voice from inside the station says “Drop your guns and come on down.” Frank Usher (Richard Boone) and young Billy Jack (Skip Homeier) emerge from the station with their guns drawn. When he’s getting down off the stagecoach, Rintoon goes for his shotgun and is shot down by another man, Chink (Henry Silva), whose been waiting in the shadows. These three men are waiting to rob the next stagecoach that comes along. They’ve already killed Hank and Jeff, and are planning to kill every person on this coach, when Willard tells them that his wife Doretta is from the richest family in the territory. Willard tells the three outlaws that Old Man Gateway will pay good money to get his daughter back, if they will just let them live. Usher, the leader of the bunch, likes this idea and sends Billy Jack and Willard back to Contention to request $50,000 from Gateway for the safe return of his daughter. With the endgame changed, Usher takes Brennan and Mrs. Mims to their hideout to wait to get their money from Gateway. Brennan knows that it’s just a matter of time before they are all killed, and he tells Mrs. Mims that they will need to be looking for any possible opportunity to escape.

THE TALL T is just so good. It’s amazing how much drama that director Budd Boetticher could fit into these films that all had running times of less than 80 minutes. The story is simple, but it deals with big themes like honor, cowardice, true love, sociopathic evil, and big dreams. Credit here has to be given to Elmore Leonard, the writer of the short story the film is based on. It must also be given to Burt Kennedy. Kennedy wrote the scripts for THE TALL T, RIDE LONESOME, and COMANCHE STATION. He’s not the credited writer for BUCHANAN RIDES ALONE but he did uncredited work on the script. Kennedy would go on to have a good career writing and directing his own westerns, like SUPPORT YOUR LOCAL SHERIFF, THE TRAIN ROBBERS, and HANNIE CAULDER, but his work with Boetticher is definitely some of his very best.

It’s also amazing how spare and simple everything looks in the THE TALL T. The land is just so dry, with nothing but big rocks and not a tree in sight. Growing up in Arkansas, I’m used to green fields and trees and flowers. It can almost feel like you’re choking on dust just watching this film.

The casting always seems to be perfect in Boetticher’s films. Randolph Scott is simpatico with Boetticher. His character here is a good man who will do what it takes to survive while also keeping his honor intact. Boetticher and Scott are truly a match made in heaven. Richard Boone is great as Frank Usher, the leader of the outlaws. He could have killed Scott’s character Brennan, but he is glad to have an honorable man to talk to after spending all of his time with Billy Jack and Chink. Boone somehow makes his outlaw leader into an honorable man even though he’s done many dishonorable things. It’s an impressive feat. Maureen O’Sullivan has an important role as Doretta Mims, the rich but plain woman, who married Willard because she was afraid she’d end up all alone. Her career goes all the way back to the 1930’s where she played Jane in the original Tarzan movies. She’s a good actress whose character undergoes the widest arc in the entire movie. Henry Silva’s Chink is a sociopath who is keeping score of the number of people he kills. Boone’s Usher would have been much better off if he would have gone with Chink’s advice and put Brennan and the Mims’ in the well back at the Sassabee station! Based on his nonchalant penchant for violence, you can see how Henry Silva would go on to having an amazing career playing bad guys. The last person I want to mention in the cast is Arthur Hunnicutt, who played Ed Rintoon. Hunnicutt is special to me because he comes from the hills of Arkansas, from a little town called Gravelly. He attended the same college I attended, although it was called the Arkansas State Teachers College when he was there. It was the University of Central Arkansas when I came through. Hunnicutt specialized in wise, rural characters. He was even nominated for an Acadamy Award a few years earlier for a movie called THE BIG SKY. He’d go on to be in so many good movies, including playing “Bull” in EL DORADO with John Wayne. I’m just proud of the guy for growing up in extreme rural Arkansas and then becoming a great character actor in Hollywood. I’ll watch anything he’s in.

I recommend all of these Budd Boetticher / Randolph Scott westerns, and THE TALL T is one of the very best!

#MondayMuggers – Why 48 HRS (1982)?


Every Monday night at 9:00 Central Time, my wife Sierra and I host a “Live Movie Tweet” event on X using the hashtag #MondayMuggers. We rotate movie picks each week, and our tastes are quite different. Tonight, Monday December 30th, we’re watching 48 HRS. starring Nick Nolte and Eddie Murphy.

So why did I pick 48 HRS., you might ask?

  1. It’s quite simply one of the best “Buddy-Cop” action comedies of all time! If you love tough, violent, badass action, as well as laughing your ass off, 48 HRS. is the perfect movie for you.
  2. Eddie Murphy made one of the great film debuts of all time with 48 HRS. After establishing himself as a comic genius on Saturday Night Live with roles like Mr. White, Buckwheat, and Mr. Robinson, Murphy absolutely steals his debut film. Nick Nolte is also great as the tough, grizzled cop, but it’s Murphy’s performance that turned this into a classic.
  3. Walter Hill directed 48 HRS. and he’s one of my favorite directors. My personal favorite film as I type this is Hill’s directorial debut, HARD TIMES (1975), starring legendary tough guy icon, Charles Bronson. Hill has such a great resume of top-notch films including THE DRIVER (1978), THE WARRIORS (1979), THE LONG RIDERS (1980), SOUTHERN COMFORT (1981), CROSSROADS (1986), EXTREME PREJUDICE (1987), and RED HEAT (1988). And 48 HRS. is probably the best of the bunch.
  4. I love the songs in the film. Of course it starts with Eddie Murphy’s rendition of “Roxanne” by The Police. And then you can’t help but want to dance when the BusBoys are singing “The Boys are Back in Town” and “New Shoes.” Heck, I love “Torchy’s Boogie” by Ira Newborn as well, setting the stage for Murphy’s rousting of the redneck bar, one of the movie’s best scenes!   

So join us tonight to for #MondayMuggers and watch 48 HRS. It’s on Amazon Prime.