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Protracted mess that's nearly saved by the high action quota. Confederate POWs escape a Union camp and make for the Mexico border chased by Union troops. This in spite of the fact that the war has just been declared over... Directed by Phil Karlson with Roger Corman on hand for uncredited duties, this stands up as an odd, interesting, but messy Western. The production problems involved do show, for we get a pic that more or less consists of similar scenes strung together as a whole. The pursued can be found squabbling and bickering, in fighting and macho posturing, while the pursuers do the same. No opportunity is wasted for some violence on tap, lots of gunplay, bloodletting and noise, while sexual aggression rears its ugly head. Sadly it just comes off as trying to keep the pic interesting, to stop the viewers from falling asleep as the narrative fails to offer anything of substance. Oh it's trying, the futility of war and its corruption of the soul are bubbling away, but it never bears out, buried under the urgency for an action scene and awful over acting (Max Baer Junior is appalling). In its favour is the cast list, which contains Glenn Ford, George Hamilton, Inger Stevens, Timothy Carey, Kenneth Tobey, Harry Stanton, Harrison "Indiana Jones" Ford and Todd "Jason Of The Argonauts" Armstrong - amongst others. It's a strange roll call befitting the strangeness of the piece, compounded by Mundell Lowe's awfully intrusive musical score - on the evidence of this it's not hard to understand why he had such a short and mundane career as a composer. The Utah and Arizona locations however are a treat, so props to Kenneth Peach, his work deserves a better picture. A Time for Killing (AKA: The Long Ride Home), more a curio piece than a genre pic to avidly seek out. 4/10
After what can only be described as one of the most ludicrous firing squad scenarios I've ever seen, the irritated confederate prisoners under the command of "Bentley" (George Hamilton) decide that they are going to avenge themselves on their blue-shirted counterparts and so they duly kill some guards, trash the fort with the cannon and skedaddle. "Maj. Walcott" (Glenn Ford) is duly dispatched to apprehend them and what ensues now is quite possibly the worst main-stream western I have ever seen. Ford just doesn't look like he cared and no amount of facial hair is going to lend enough gravitas to the perpetually underwhelming Hamilton as the story heads down the same wagon trail as quite literally thousands of it's civil war cinematic forebears. The production is almost as bad as the script, which is back of an envelope stuff - and the contribution from Inger Stevens as the kidnapped, wronged and vengeful "Emily" (the fiancée of "Walcott") is just bizarre. Keep an eye out for a young-ish Harrison Ford if you can be bothered sitting through this, and you may also spot Todd Armstrong - having fallen quite a way since "Jason and the Argonauts" (1963) but it's a long and unfulfilling old slog riddled with banal dialogue to an ending that I could have done with about seventy minutes earlier.
A member of Coast Guard Platoon 23, Private Kang monitors a high-infiltration stretch of beach lined with barbed-wire fencing. Driven by the belief that killing a spy is the highest honor, he waits for a chance to prove his worth.
At the beginning of the 1913 Mexican Revolution, greedy bandit Juan Miranda and idealist John H. Mallory, an Irish Republican Army explosives expert on the lam from the British, fall in with a band of revolutionaries plotting to strike a national bank. When it turns out that the government has been using the bank as a hiding place for illegally detained political prisoners - who are freed by the blast - Miranda becomes a revolutionary hero against his will.
When former Green Beret John Rambo is harassed by local law enforcement and arrested for vagrancy, he is forced to flee into the mountains and wage an escalating one-man war against his pursuers.
It's a dreary Christmas 1944 for the American POWs in Stalag 17 and the men in Barracks 4, all sergeants, have to deal with a grave problem—there seems to be a security leak.
A group of French soldiers, including the patrician Captain de Boeldieu and the working-class Lieutenant Maréchal, grapple with their own class differences after being captured and held in a World War I German prison camp. When the men are transferred to a high-security fortress, they must concoct a plan to escape beneath the watchful eye of aristocratic German officer von Rauffenstein, who has formed an unexpected bond with de Boeldieu.
A hardened mercenary in the Foreign Legion begins to find his own humanity when confronted with atrocities during the fighting in Bosnia.
On the one hand, there’s the desert eating away at the land. The endless dry season, the lack of water. On the other there’s the threat of war. The village well has run dry. The livestock is dying. Trusting their instinct, most of the villagers leave and head south. Rahne, the only literate one, decides to head east with his three children and Mouna, his wife. A few sheep, some goats, and Chamelle, a dromedary, are their only riches. A tale of exodus, quest, hope and fatality.
A beautiful temptress re-kindles an old romance while trying to escape her past during a tension-packed train journey.
William Blake, an accountant turned fugitive, is on the run. During his travels, he meets a Native American man called Nobody, who guides him on a journey to the spiritual world.
Young police officer Shane Cooper's first day on duty, after relocating to the small town of Red Hill, rapidly turns into a nightmare. News of a prison break, involving convicted murderer Jimmy Conway, sends the local law enforcement officers - led by the town's ruling presence, Old Bill - into a panic and leads to a terrifying and bloody confrontation.
