Not a fat lot of Room for improvement with this one


After spending the past five years locked away in a kidnapper’s shed, a little boy and his mother finally get out and are able to reacquaint themselves with the world.
When she was seventeen, Joy Newson (Brie Larson) was kidnapped on her way home from school. For seven years she was held hostage by her kidnapper in his garden shed, and gave birth to his child, Jack (Jacob Tremblay), after two years in captivity. Joy and Jack survived together for five years in the shed, until one day Joy decided the time had come where they had an opportunity to get out. She constructs an escape plan which heavily involves her son, and when the mission is completed, the two, especially Jack, find that things on the outside are more different than they expected. 

I’d heard that Room was supposed to be a phenomenal watch, and I had also heard that it had brought a tear to the eyes of many viewers. To be honest, I’m surprised that it has taken me until now to see the film, but I will say that after finally seeing it, that wait has been well worth it. I will also say that the film manage to stir up emotions within myself that I was not even sure existed. If you’re in the mood for a full on ugly cry, this is probably a film you should consider.

There are some incredibly powerful performances in Room, brought to you by Brie Larson and Jacob Tremblay. The two of them got the whole mother/son dynamic perfect, and it felt like a really authentic relationship for the entire time you were watching them. Larson nailed the patience needed by Joy whilst she was locked in the shed, and the innocence shown by Jacob Tremblay as Jack towards the idea of a huge world outside of his own existence was clear to see. I found that it was Tremblay’s performance that provoked the greatest reaction from me at various points throughout the film (one such point was when he set eyes on a real dog for the first time, I’m still not over it). However, the scene where Joy was reunited with her father for the first time since she disappeared was also a significant one for me, and once again, tissues were needed.

I have to whole-heartedly praise Emma Donoghue for her writing of both the novel and the screenplay, and with that I also take my hat off to whoever had the idea of keeping the same writer for both. The emotions that are brought to the surface by the characters she created are like a punch in the face. There is no escaping them, meaning even the most hardened non-criers such as myself find themselves reduced to tear stained ruins by the end of the film.

Director Lenny Abrahamson did a fantastic job with the making of this film. I’ve read about all the struggles that were presented to the cast and crew by the task of filming such a huge proportion of the film in the confines of the shed that Joy and Jack were kept in. It does not sound as though the first month of filming was a breeze. However, I think Abrahamson’s belief in the story was shown by his persistence and determination that they would succeed in filming those scenes within those four walls, which, if you are aware of it, I think gives you even greater faith in the film as you watch it.

So, would I recommend Room? Well, it’s not remotely like anything that I’ve personally watched before, nor has any other film made me such an emotional wreck on numerous occasions before. The performances are on a new level altogether (I forgot to mention it, but Larson won a Best Actress Oscar for her part, although I’m sure you already knew that), and really work to bring to life the feelings that the script is absolutely sodden with. I’ve already been recommending it to people, and I wouldn’t think twice about sitting down to watch it again myself. 

Wonder Woman has given the DCEU a new lease of life


Diana, princess of the Amazons and trained warrior, discovers her full powers and true destiny fighting a war in the outside world.
Diana (Gal Gadot), princess of the Amazons, was raised on a sheltered island. She spent her time being trained to become an unconquerable warrior, although the hope had been that she would never have to use her skills. When army pilot Steve Trevor (Chris Pine) crashes on the secluded island one day, he brings news of a war to end all wars. Convinced that the war is the work of Aries, the god of war, Diana decides to use all she has learnt in a bid to take down Aries and put an end to the fighting, and in doing so, she discovers more about herself than she ever knew existed.

Besides the blogathon that has been taking place, normal service hasn’t really been occurring here for a while – blame the final round of exams I was having to take. However, it would appear that school has officially ended, and so have the exams, which means one thing; I am back. It seemed only right to mark the occasion with a couple of new releases, and to properly kick things off I bring you my review of Wonder Woman. People have made a big fuss of this film for good reason. It is an incredibly empowering film that had such an effect on my best friend that it brought her to tears at least four times. 

I can’t say that I’ve seen any other versions of Wonder Woman besides this one, so I have nothing to compare Gal Gadot’s outing as the heroine to. However, what I can say is that her portrayal of Diana is up there with Angelina Jolie’s Lara Croft as one of my favourite female heroes to have graced the big screen. What I liked so much about the character was she was very human. The events that she witnessed deeply affected her, and Gadot made this so obvious to the audience. It honestly was so good to watch a female lead saving the world without her feeling the need to hide her emotions from her male counterparts so as to be taken seriously. She kicked ass quite spectacularly as well, we cannot forget that.

For me, since watching Chris Pine in Hell Or High Water, I’ve welcomed his presence in films with open arms. His performance was Steve was excellent, and what made it so was that it didn’t in anyway overpower Gadot’s Diana. In fact, it was very complementary of it, and this became apparent in the series of exchanges that took place between Steve and Diana throughout the film. I personally struggle to picture anyone else in the role because Pine has a subtlety about him as an actor that I think means he quite often goes under the radar with audiences and directors. Besides the Star Trek franchise, he’s not been in many huge films, and it is this quality possessed by him that meant he worked so well in the role here.

The next thing I have to talk about is the wonderfully crafted fight scenes, and the very effective use of selective slow motion. It really helped take the fighting to another level, and allowed us all to revel in Wonder Woman’s fierce physical prowess. Rather than the most impressive moves being over and done with in a fraction a second, everything was slowed down right at the pinnacle, letting the audience just bask in all it’s glory. I think this was a terrifically smart move on director Patty Jenkins behalf, as was much of what she did with the film. She knew what she wanted to achieve with this film, and she most certainly succeeded from where I’m standing.

So, you might have guessed it already, but I was very pleased with Wonder Woman. If anyone was to ask me, much of it’s success has been down to the fact that it was very much left to the girls – a female director, a brilliant lead actress, and a series of male stars who seemed to realise that this wasn’t their film, if you understand where I’m coming from. I also think it’s fair to say that Wonder Woman has allowed DC the opportunity to give us a few more films and hopefully turn things around for their comic universe. However, regardless of whatever happens, I reckon Wonder Woman will stand alone as a landmark film for the simple fact that it was quality cinema for everyone to enjoy that happened to be led by women – something that doesn’t seem to happen often enough. However, things might start to change following this (fingers-crossed!).

Gill’s Entry For The Play To The Whistle Blogathon


Here we have a review from Gill from Real Weegie Midget Reviews. She has recently taken on a new venture called 2 Quirky Cats with Catherine of Thoughts And All Sorts. I wish you the best of luck for that project, and thank you for sending this post my way.

Eddie The Eagle


A feel good biopic of Eddie Edwards, the beloved British Olympic ski jumper who reached the height of fame in the 1988 Olympics.
So Darlin’ husband raided the local DVD hire shop and came back with a couple of Huge Hugh Jackman movies. One was a major disappointment, the other was a surprising delight. The former film being a Superhero movie, X-Men Apocalypse (2016) which was yet another of their origin films (yawn) which lasted hours but felt like days. Luckily my perceptive husband realised that I too was flagging after the first two hours and riffed the rest of the movie. This made it much more bearable, as did spotting Jackman and Stan Lee in their appearances, which have to be their least fun ever. The established cast also seemed to be getting lethargic too. Michael Fassbender appeared to resort to hamming it up Shakespearean style and Jennifer Lawrence looked like she was pissed off with everyone. All the time. Period. The younger cast were more enthusiastic but maybe its just because they were cast in a Marvel movie. Yay! (?)
The latter film was the now reviewed sports biopic, Eddie the Eagle (2016) which to my relief was labelled a comedy-drama. This film starts in 1973, with young 10-year-old Eddie Edwards telling his mum (Jo Hartley) he’s made his best time ever in holding his breath underwater. He then says he’s going to represent this skill in the Olympics. His mother (Jo Hartley) is happy for him and encourages him in his dream. Conversely, his dad Terry (Keith Allen) is more cynical dismissing it as an Olympic obsession and not a real career. It is revealed that young Edwards has a physical disability in his knees which he slowly recovers from over the next five years. After attempting a variety of sports as a teenager, the hapless clumsy kid fails in all. Then after spying an outdoor ski ramp, Edwards changes his goal to appear in the winter Olympics. His dad wants him to give up his dream and be a plasterer.
Then flashforward to 1987, Edwards changes into Taron Egerton and is one of several hopefuls for the downhill Olympic ski team. He doesn’t qualify due to the snobbish Olympic selector holding Edwards’ working class upbringing against him over his obvious talent. So the determined Edwards leaves for Germany to further his goal, which now is to better the British record made 60 years previously for ski jumping. There he is given free bed in lodging by the kindly bar lady of the ski centre but is mocked by the other professional skiers including his Finnish idol. He meets the snow groomer, Bronson Peary who is played – in a delightful slow panning up shot – is revealed as Hugh Jackman. It is revealed that Peary was an Olympian ski jumper and the protegé of a famous skier, Warren Sharp (a clue to this actor’s identity later). Peary is now bitter having left this sport after a disagreement with Sharp, with a drinking problem but a sardonic sense of humour luckily lost on Eddie. However a lovely bromance between the two develop after a bar fight, Peary reluctantly coaches Eddie with the aim to help him qualify for the Olympics in an upcoming qualifying session…
The reminder of the film can be revealed in the usual ways but I would certainly recommend it. Watching this feel good movie, with Jackman taking a well deserved break from being Wolverine and the infectious enthusiasm of him and his co-star Egerton this was like a breath of fresh air. Egerton – who I last saw in Legend (2015) as Ronnie Kray’s pretty boy boyfriend – was unrecognisable. He totally transformed himself from boy band extra into Edwards by almost gurning throughout and with Edward’s 1980s spectacles propped annoyingly on his nose. Jackman had some delightful dry comic lines and quips which made his Peary character more and more endearing as the film progressed. There was also a lovely scene with both these actors where on coaching Edwards, Peary explains the technique as making love to his favourite actress with an indirect reference to a some movies from the 1980s. This leads to Peary demonstrating his pre and post orgasmic technique – waiting for the mash-up of this and the famous When Harry Met Sally (1989)’s scene – and catching Edwards in a jump – reminiscent of Dirty Dancing (1987). It was nice to see a few nods to other movies such as Cool Runnings (1993) and movies of the Northern working class boy wins parental pride ilk in namely Billy Elliot (2000).
The more awful fashions of the 1980s were evident, until this film I’d forgotten about the garish jumpers and their colours from this time, Jo Hartley’s wardrobe was exceptionally tastlessly 1980s but with her enthusiastic performance as his supportive mother even outshone them. The fashions were accompanied by a feel good 1980s soundtrack with new and old songs from many 1980s acts. The film surprises you from all angles – and that doesn’t just include the terrific camera shots as you see the view from some bloody high ski jumps – with a couple of cameos, a Flying Finn and a Norwegian coach ably played by Rune Temt. However, Darlin’ husband felt in line with the more bizarre casting choice not mentioned, he should have been played Will Ferrell who this Norwegian coincidentally resembled.  The film engages you from the start – despite the familiarity of the story – as young Eddie aims to reach the heights of Olympic glory until reaches the pinnacle of his success. His enthusiasm and determination for a British Record as to him it truly was the taking part in the Olympics more than the Gold medal that he was interested in. It is important to remember, this is another film based on a true story with a couple of fictional characters with one being a Huge, Hugh part and one a Walken cameo.

Weeper Rating:  /10
Handsqueeze Rating:            /10
Hulk Rating:      /10
Bonus Trailer:  Yes

Darren’s Entry For The Play To The Whistle Blogathon


Darren of Movie Reviews 101 is yet another critic extraordinaire to take part in this little blogathon. It’s been great having you onboard Darren, thanks for taking part!

The Fan

Director: Tony Scott
Writer: Phoef Sutton (Screenplay) Peter Abrahams (Book)
Starring: Robert De Niro, Wesley Snipes, Ellen Barkin, John Leguizamo, Benicio Del Toro, Patti D’Arbanville

Plot: An all star baseball player becomes the unhealthy focus of a down on his luck salesman.

There may be spoilers the rest of the review

Verdict: Enjoyable Thriller

Story: The Fan starts as baseball MVP Bobby Rayburn (Snipes) joins to San Francisco Giants on a lucrative contract to be the highest paid player in the league. We also meet diehard baseball fan Gil Renard (De Niro) who is over the moon with the latest signing believing his team could go all the way this year but is on his last legs in his job as a salesman.
When Gil’s life starts crashing around him, he loses his job, gets a restraining order from his kid and even his beloved team isn’t performing he starts to reach into dark places. On the field, Bobby isn’t reaching to levels of expectation with Primo (Del Toro) outshining him in the games, with this we see how both men are not having the best time in their lives.
When Gil becomes obsessed with trying to help Bobby find his form, things take a dark turn with potentially deadly consequences.

Thoughts on The Fan

Characters/Performance – Gil is a true extreme diehard sports fan, he makes sport, in this case baseball the most important part of his life. He has been struggling with his job and family life which has pushed him over the edge. Bobby is the typical arrogant overpaid sports star who believes he can walk into any team and become the star attraction, when things don’t go his way, he struggles with the fan backlash when he hits a slump.
Performance wise, Robert De Niro is fantastic in this role with the final third of the film showing all of his skills on the psychotic levels. Wesley Snipes also brings the cocky sports persona from White Men Can’t Jump to the next level with his performance. The rest of the cast are all great, with always reliable performances from John Leguizamo and Benicio Del Toro
Story – We all know how certain fans can go to the extremes when it comes to supporting their team, we all know how the star player can sometimes find themselves getting the fans turn on them. So what happens when a fan goes too far, what happens when a star breaks his slump for his own change rather than because of the fan? Well this shows us just what could happen and in a very stylish way.
Action/Sports – The action is mostly based on the suspense of the film with the sports drama side coming from how the extreme fans can act.
Settings – San Francisco is the most part for the setting which shows us how difficult it could be to get by, the difference between sports players and fans as well as the amount of people an average person could blend into.
Final Thoughts – This is one of the most interesting twists on sports drama, seeing the extremes we could see a fan go to for a player and a team. This does start slightly slow but I do feel that helps build the characters for the final third of the film.

Overall: Great sports drama that has the intensity needed for the story.
Rating

Tiffany’s Entry For The Play To The Whistle Blogathon


This review comes to you from Tiffany at the Pure Entertainment Preservation Society. Thank you Tiffany for getting involved – it was good to read about your film and to have you take part.

Angels In The Outfield


Many films are centered around sports. Others are centered around religious, supernatural elements such as angels. However, have you ever heard of a movie about sports and angels? There is such a film, and it is Angels in the Outfield from 1951 with Paul Douglas, Janet Leigh, and Donna Corcoran. I will review Angels in the Outfield in terms of the sports involved, the supernatural elements, and Guffy McGovern’s transformation.
As the name implies, this film is centered around baseball; it is a story about the Pittsburgh Pirates and their manager, Guffy McGovern. The Pirates are in a slump, and their losing streak has lasted for months. A cute reporteress named Jennifer Paige is assigned to write an article about the Pirates. She may not know anything about baseball, but she does know about proper behavior and comeuppance, so she is certain that the Pirates are losing because of their disagreeable manager’s behavior. There is a lot of interesting footage from actual baseball games which would be interesting to sports fans. The Pirates start in seventh place in the National League, and they soon move to eighth, the lowest possible position. However, after Guffy begins to reform his behavior with a little angelic intervention, the team begins to rapidly improve. Soon they are in third place with hopes for winning the pennant. After being hit in the head with a ball, Guffy dizzily reveals his conversations with angels. Further evidence leads to a trial regarding his sanity relating to talking with heavenly beings. This trial comes right before the final game that will determine the pennant, but the kind old judge says that Guffy is sane. However, because he started fighting with his reporter nemesis in the courtroom, Guffy is on his own. The final game is going shakily without heavenly intervention, and the pitcher is Guffy’s tired old friend, Saul Hellman, a man who was a great player years ago but now is wavering under the strain. Guffy’s angel told him that next year Saul would no longer be playing ball on earth, so he decided to give Hellman one last chance to be a star. Even though all the fickle fans are yelling for Hellman to be taken out, Guffy gives him a final chance, and his confidence in him makes him succeed. They win the game and the pennant.
The name also tells us that angels are involved in this movie; everything changes for the Pirates when Guffy becomes acquainted with an angel. One night, while trying to find his good luck piece on the dark field after a game, Guffy is cursing because he can’t find his missing token. A voice tells him to shut up; at first, Guffy is sure someone is playing a joke on him over the loud speaker. It takes a clap of thunder and a bolt of lightning bursting the calm night for him to realize that the voice is really an angel’s. This angel tells him to stop swearing, fighting, and bullying. If he obeys, the angels who play baseball will help him win some games. The very fanciful notion of angels in this film is the following: someone has been praying on Guffy McGovern’s behalf, so Gabriel, the archangel, has dispatched a personal angel to reform him and pull the Pirates out of their slump. This particular angel, who sits at Gabriel’s right hand, is a member of an angelic baseball team called the Heavenly Choir. This team is comprised of deceased baseball players who are receiving their reward in heaven, where they still play baseball and occasionally assist their mortal brothers in the game. The idea is that they stand behind the Pirates when they need help and assist them, wearing long white robes which are sort of like uniforms and bear the initials HC for Heavenly Choir; I understand they are not encumbered by their wings. Mind you, no angel is ever seen on the screen. The information comes from Guffy’s conversations with his unseen angel and a little girl’s description of them. You see, little Bridget White, a Catholic orphan with a lot of faith and a great fondness for Guffy and the Pirates, is the only person who can see the angels. Whenever they start helping the Pirates during a ballgame, she sees them very clearly.

It seems that nothing less than a miracle could transform Guffy McGovern from an irreverent, foul-mouthed bully into a kind man, but a child’s prayers, a woman’s love, and an angel’s intervention manage to reform him. Guffy is ruthless to his players, rude to reporters, and insulting to the umpire. His speech during and after games is often very blue, but this film uses a brilliant tactic to imply swearing without allowing one forbidden word to be said. Paul Douglas yells and talks, but several recordings of his voice are played at the same time, so his words sound like nonsense. I don’t know whether the idea came from Clarence Brown, the director, or Joseph Breen, the head of the Production Code Administration, but the Code administrator must have approved of this delicate technique. Guffy is thrown out of almost every game for his fighting with the umpire. After an angel warns him to stop fighting and swearing, he struggles, so the angel suggests that he learn Shakespeare to diversify his vocabulary. The whole team is stunned and nervous because of the coach’s change; he is kind, courteous, even-tempered, and well-versed in the language of the Immortal Bard.  When Bridget White sees the celestial beings with whom he has been conversing, Guffy pays the sweet little orphan a visit; at the orphanage he encounters Jennifer Paige again, since she too is curious about the child. Jennifer writes an article about the girl’s supposed angel siting, but she soon realizes that it causes a lot of trouble. She brings Bridget to another baseball game, hoping that she won’t see angels when she sits out of the sun, but she sees them again. As Bridget recovers from a stomach ache caused by two many hotdogs and Eskimo pies, Guffy and Jenny visit her. Soon, the three are fast friends. For the first time in years, Guffy realizes that there is more to life than baseball. He realizes that a man can get a lot of joy and satisfaction from the affection and care of a young woman and little girl. He begins to make plans for adopting Bridget, but he will need to marry Jenny to give her a happy, normal home. At the end of the film, he has won the pennant, but more than that, he has won the love of a future wife and daughter.
Having reviewed Angels in the Outfield in terms of the sports involved, the supernatural elements, and Guffy’s transformation, we see that it is a heartwarming story that mingles America’s favorite pastime with a whimsical outlook on heaven and its angels. There is a lot of interesting footage of baseball games which will please sports fans but also be entertaining to people like me who don’t like sports. Although it presents a very fanciful view of angels, this movie has a charming if not realistic depiction of heaven and the way it helps humans. The experience with the angels makes Guffy realize that clean speech, peace-making, and respect and kindness for other people make life fulfilling and rich, since a man needs more than baseball in his life. Watch this movie soon to see how MGM charmingly mixed baseball and angels in 1951.

I’ll lose no sleep after watching Nocturnal Animals


An art gallery owner is haunted by her ex-husband’s novel, a violent thriller she interprets as a sadistic revenge tail.
This story within a story follows art curator Susan Morrow (Amy Adams) as she works her way through a book written and sent to her by her ex-husband. The story follows Tony Hastings (Jake Gyllenhaal) as he and his family set off on a road trip, but have their journey cut short by a bunch of psychotic rednecks who capture his wife and daughter. Tony escapes and spends a night in the desert before making his way to a police station. With Sheriff Bobby Andes (Michael Shannon), Tony makes a grisly discovery, and between them the two get to work on bringing down the gang that hijacked his journey. As she works her way through the novel, Susan finds herself recalling her first marriage, and confronting some of her most deeply bruised demons.

After missing out on Nocturnal Animals in the cinema (don’t you just love limited release films?), I’ve only just gotten round to reviewing the film. Although it required a lot of thinking on my behalf, I did enjoy the film, and it wasn’t just the lead actor who swung it for me. There was handful of great performances to deliver the story to us, and director Tom Ford completely pulled off the ambitious narrative style the film opts for.

Amy Adams made her second major appearance of the last year with her performance as Susan. Straightaway, I will say that for me personally, she wasn’t as strong here as I thought she was in Arrival. For the most part of her time as Susan, Adams gave a brooding performance as her character reflected back on a former life. She was good, just not as good as I thought she was in her other film from 2016.

Jake Gyllenhaal was great as Tony Hastings, although let’s face it, I am slightly biased on this point. he played a desperate man and was really riveting to watch as he teamed up with Michael Shannon’s Bobby Andes to try to bring his wife and daughter’s killers to justice.

That brings me onto the two supporting performances nicely. Shannon was terrific as the sheriff. He practically stole every scene he was in, and I would say that he is fully deserving of the Oscar nomination he received for his work. Aaron Taylor-Johnson was also brilliant as Ray Marcus, but I don’t think he was quite the psychopath a lot of people made him out to be.

At a first glance, it is quite difficult to see where the two different elements of this film fit together. However, after thinking about it for a while, there are so many ways the two halves can be joined up. The whole film is very open to individual interpretation, and I have no doubt that if I were to watch the film again and again, each time I would find a different way to pick everything apart.

Director Tom Ford has done a wonderful job with this film. I’ve not seen A Single Man, but from what I’ve heard, it would seem that this second film was a fine second project. His fashion designer influence was evident with so many of the shots throughout the film. I may have to sit down and watch his first film after seeing this.

On the whole, Nocturnal Animals is a magnificently dark thriller that I think deserved more recognition than it has received. Due to the nature of it’s non-linear narrative, you do need to watch it with an open mind, but if you do this, I’m pretty certain you will enjoy it.

The Long Riders (my Genre Grandeur entry)


The tale of the Jesse James gang members, their numerous exploits and their individual fates.
The Long Riders is a sympathetic portrayal of the story of the James-Younger gang that undertook a number of legendary bank robberies as way of revenge. The group, headed up by none other than Jesse James (James Keach), had their share of excitement during their time together, and went down in a blaze of glory when some plucky townspeople call time on their raids.

I’ve always been a fan of westerns – I kind of have to be given that my dad is too. I think it’s fair to say that for an 18-year-old girl, I’ve seen quite a few new and old, traditional and contemporary westerns and have enjoyed most of them. When this month’s Genre Grandeur came up, I thought it was right up my street. I had initially thought about watching something with John Wayne or Robert Mitchum in, but decided to venture a little further out in the end. The Long Riders was a decent western, but not one of my favourites, and here’s why.

The cast of this film is quite an ensemble. You have the two Keach brothers, both Quaids and three of the Carradine clan – more than fitting for a film about a gang that is made up of brothers wouldn’t you say? This benefitted the performances so much as there was a lot of real family ties that already existed. The bonds portrayed on screen just felt so genuine, and I think this made the telling of the story so much more enjoyable to watch.

There was plenty of action in this film, especially in the last half an hour or so. While I am a fan of both slow burners and fast paced movies, I perhaps edge slightly further towards the more high-octane westerns. It was really fun to watch when all the shots were being fired, and it let you see the Jesse James gang in all their glory. One of my favourite scenes in the film was when the men were trapped in a cabin by the Pinkertons chasing them, and they had to break their way through the panelling in the back and take a back route to escape. For me, it’s scenes like that that encapsulate the old west – big shoot-outs and the heroes escaping by the skin of their teeth.

I do have one big issue with the film, however, and while it may seem like a minor detail, it was a big issue for me. Some of the transitions from scene to scene were a bit rushed. the biggest example I can give you of this is at the end of the film when Jesse meets his maker. The big moment happens, and then straightaway the shot cut to the scene of Frank James, played by Stacy Keach, handing himself over to the authorities. This took away so much of the impact of what was one of the biggest blows the film dealt in my opinion, and I really wish that more time had been spent of making the change more meaningful.

All in all, as much as I enjoyed The Long Riders, it didn’t make enough of an impression on me to be amongst my favourite westerns. There were some rip-roaring shoot-outs and I loved the family dynamic that was made so wonderful by the fact that the cast consisted of so many brothers. What damaged the film so much in my eyes was some of the dodgy transitions between scenes. It really impacted some of the biggest moments in the film for me, which is why I cannot place it amongst the ranks of El Dorado or The Good, The Bad And The Ugly. Nonetheless, it was worth seeing, and was an hour and a half of my time well spent.