Mystery Island Winner Takes All 2025 - Movies (Mar 14th)
Racing Mister Fahrenheit 2024 - Movies (Mar 14th)
The Quiet Girl 2024 - Movies (Mar 14th)
Warden 2025 - Movies (Mar 14th)
The Electric State 2025 - Movies (Mar 14th)
Borderline 2025 - Movies (Mar 14th)
Bill Burr Drop Dead Years 2025 - Movies (Mar 14th)
High Rollers 2025 - Movies (Mar 14th)
Anthony Rodia Totally Relatable 2024 - Movies (Mar 13th)
Mickey 17 2025 - Movies (Mar 13th)
Silent Zone 2025 - Movies (Mar 13th)
The Parenting 2025 - Movies (Mar 13th)
Control Freak 2025 - Movies (Mar 13th)
Fierce Killer Marsupial 2024 - Movies (Mar 12th)
Goldilocks and the Two Bears 2024 - Movies (Mar 12th)
Wolf Man 2025 - Movies (Mar 12th)
The Windigo 2024 - Movies (Mar 12th)
American Scream 2025 - Movies (Mar 11th)
Suky 2025 - Movies (Mar 11th)
Heartbreakers Beach Party 2024 - Movies (Mar 11th)
Séance Games - Metaxu 2024 - Movies (Mar 11th)
Tyler Perrys Sistas - (Mar 15th)
Landscape Artist of the Year - (Mar 14th)
Chris Jansing Reports - (Mar 14th)
Katy Tur Reports - (Mar 14th)
Deadline- White House - (Mar 14th)
S.W.A.T. - (Mar 14th)
The Young and the Restless - (Mar 14th)
Around the World in First Class - (Mar 14th)
Unreported World - (Mar 14th)
The Last Leg - (Mar 14th)
The Price Is Right - (Mar 14th)
Gogglebox - (Mar 14th)
Come Dine With Me- South Africa - (Mar 14th)
Beyond the Gates - (Mar 14th)
Lets Make a Deal - (Mar 14th)
The Bold and the Beautiful - (Mar 14th)
Death in Paradise - (Mar 14th)
The Tucker Carlson Show - (Mar 14th)
Piers Morgan Uncensored - (Mar 14th)
Big Miracles - (Mar 14th)
Any questions? Fort Apache is the first film of what came to be known as John Ford's US Cavalry trilogy. Just like the other two, She Wore A Yellow Ribbon & Rio Grande, this is also based on a short story by James Warner Bellah. Originally intended to be shot in colour, it was however filmed in black and white with Ford still making spectacular use of the Monument Valley location. The story primarily deals with opposite factions within the same army. On one hand is Lt. Col. Owen Thursday (Henry Fonda), stiffly rigid in his beliefs, a stickler for the rules and pig ignorant and hostile towards the Indians he has been sent to control. On the other hand is Captain. Kirby York (John Wayne), more relaxed towards those under his command, he's also knowledgeable about, and respectful towards, the Indian race. Thursday is also something of a chauvinist and a snob, he is determined to stop a burgeoning union between his daughter Philadelphia (Shirley Temple) and Lieutenant O'Rourke (John Agar), with O'Rourke's homely family seen as too low for his daughter. All of this is played out in a far out military outpost, something else that Thursday also resents - that he was sent here instead of some place where a chance of glory was imminent. Ford's film is also intriguing in its view of army life for the women at the post. As the men go about their military chores, the women have to remain lady-like even in the face of stupidity and ignorance. And Ford also occupies much of the piece with military etiquette, rank and file and social standing. This is also one of his most overtly sympathetic movies as regards the Indians. Here it's the Apache, led by the wise and stoic Cochise, they are not painted as villains, instead they are victims of trouble stirred by vile Indian agent Meacham (Grant Wthers). It's this thread that leads us to the fabulous last thirty minutes of the film. Ford's action sequences are a given, highly impressive as always, but it's his parting shot that leaves the greatest indelible mark. The myths of the West and the need for heroes is given close scrutiny by the master director - food for thought as the close caption booms out of the screen. Fort Apache takes its lead from George Armstrong Custer's folly, and covers it with intelligence, wit and panoramic delights. 8.5/10
Certainly, I think, the best of the John Ford US cavalry trilogies this one. Henry Fonda is cracking as the honourable, but out of his depth, by-the-book colonel sent to run a ramshackle army post just as the Apache are on the rise again. He replaces the far more practically experienced John Wayne and soon it all gets a bit sticky. John Agar and Shirley Temple provide an amiable romantic sub-plot as the very green lieutenant son of the Sergeant Major (Ward Bond) and the daughter of the Colonel who fall in love - despite the disapproval of (for different reasons) both sets of parents. The photography is, as usual, quite stunning - George O'Brien; Pedro Armedáris, Dick Foran and the inimitable Victor McLaglen all contribute hugely (and frequently humorously) to a tight little, and occasionally quite thought-provoking, Frank Nugent screenplay and the Admiral maintains a decent degree of jeopardy - between the two, on-form, leads and between them and the Apache - until the very, gallant, end. It's held up remarkably well, nodding subtly - but distinctly - to the appalling way the native American tribes were treated during the pioneering, expansion of the United States.
Wounded Civil War soldier John Dunbar tries to commit suicide—and becomes a hero instead. As a reward, he's assigned to his dream post, a remote junction on the Western frontier, and soon makes unlikely friends with the local Sioux tribe.
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.
A posse discovers a trio of men they suspect of murder and cow theft and are split between handing them over to the law or lynching them on the spot.
A group of people traveling on a stagecoach find their journey complicated by the threat of Geronimo, and learn something about each other in the process.
Gunning for revenge, outlaw Nat Love saddles up with his gang to take down enemy Rufus Buck, a ruthless crime boss who just got sprung from prison.
The Apache Indians have reluctantly agreed to settle on a US Government approved reservation. Not all the Apaches are able to adapt to the life of corn farmers. One in particular, Geronimo, is restless. Pushed over the edge by broken promises and necessary actions by the government, Geronimo and thirty or so other warriors form an attack team which humiliates the government by evading capture, while reclaiming what is rightfully theirs.
The Apaches are on the warpath and the Army must defend them. Murphy's mission is to get a shipment of rifles, but it's stolen by greedy white traders with the help of mutinous soldiers
Major Jim Colton is a sympathetic leader who has a working relationship with Apache leader Cochise. Colton is undermined by corrupt and politically ambitious Indian agent Neil Baylor who sets up a false attack, and the abduction of a local farmer's son. While Colton is away investigating the matter, Baylor convinces Lieutenant Bascom that Cochise's band is to blame, and incites him to lead an expedition against the Apache band to return the boy.
Before the adventures that made them legends, they were charming mastermind Robert Leroy Parker, alias Butch Cassidy, and crack-shot outlaw Harry Alonzo Longabaugh, soon to be known as The Sundance Kid. This is the 'prequel' of how they met, their first clumsy robberies, the heroic dangers that abound them together, the secret that nearly tore them apart, and the impossible train heist that made them notorious for life. Saddle up and ride with the showdowns, shootouts, bad guys and good times in the days before the fame when fun was the name of the game.
This classic family drama stars Shirley Temple as young orphan Susannah Sheldon, the sole survivor of a brutal Indian attack who's befriended by Canadian Mountie Angus Montague (Randolph Scott) and his girlfriend, Vicky (Margaret Lockwood). The couple takes Susannah under their wing and soon learn that having a precocious child around can come in handy; when the Indians return, the girl uses her charm to broker peace.Shirley is the orphaned survivor of an Indian attack in the Canadian West. A Mountie and his girlfriend take her in...
First Sergeant Emmett Bell faces off with Apache chieftain Kamiakin in this nuanced portrayal of racial tensions between Native Americans and white settlers in 1860s Oregon Country.