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The Beat with Ari Melber - (Aug 31st)
Alex Witt Reports - (Aug 30th)
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WWE Main Event - (Aug 30th)
James Martins Saturday Morning - (Aug 30th)
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Ainsleys Fantastic Flavours - (Aug 30th)
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Anne Shirley - (Aug 30th)
Foreign Correspondent - (Aug 30th)
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The First 48 Presents Critical Minutes - (Aug 30th)
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A Cheyenne is a soldier from the first slap on his bottom. Cheyenne Autumn is directed by John Ford and is a "Hollywood" telling of the Northern Cheyenne Exodus of 1877/9, where the Northern Cheyenne, fed up with lack of food and poor facilities, tried to return to their one time home in the North after having been located in the Southern Reservation by the United States Army. It stars Richard Widmark, Caroll Baker, Dolores del Rio, Karl Malden, Gilbert Roland, Ricardo Montalban, Edward G. Robinson, James Stewart and Arthur Kennedy. Music is scored by Alex North and cinematography by William H. Clothier. It is photographed in Super Panavision 70, in various Utah locations, predominantly Monument Valley. Does it ever matter who fired the first shot? John "Pappy" Ford's penultimate film, and his last Western, is epic in scope and production and seen as an honest attempt to redress the balance for years of misrepresentation of Native Americans in Hollywood, though not necessarily his own since he, I believe, isn't on record as saying that to be the case? Thematically it's important and doesn't back off from being sympathetic to the Cheyenne's plight, we root for them and rightly so. Yet it always feels like a film shot through the vision of a white man's eyes, you find yourself wanting more from the Cheyenne perspective, for them to dominate the narrative. It would have been nice to know some of the big players involved in the heroic and tragic trek back to Wyoming. It's also annoying that Ford or the studio chose to interrupt the flow of the story with the pointless light relief section at Dodge City. Which comes across as just an excuse for James Stewart and Arthur Kennedy to play Wyatt Earp & Doc Holliday respectively. And sadly, they are not very successful in doing so either. As has been noted by many critics over the years, the film ultimately rounds out as an honourable misfire from the great John Ford. The cast, away from the loud and brash Dodge City collective, are mostly fine. Widmark proves to be a watchable axis as the reluctant Captain tasked with returning the Cheyenne to the barren reservation. Baker does a nice line in sexy Quaker, Robinson adds a touch of class late in the day, while Montalban & Roland are excellent as Cheyenne chiefs Little Wolf & Dull Knife respectively. But all pale in the shadow of Clothier's magnificent photography, stunning vistas that dominate the screen, the colours so rich and splendid, Monument Valley an iconic character of nature observing the Cheyenne desperately trying to get back to home comforts. It's unmistakably a John Ford picture, with some inspired filming techniques, but the heart of the story is lost due to a too long run time, a daft mid point sequence and much extraneous nonsense. 6/10
A white man trades with the Comanche for the release of a female stranger and the pair cross paths with three outlaws who have their eyes on the handsome reward for bringing her home and Comanche on the warpath.
In Apache territory, a supply Army column heads for the next fort, an ex-scout searches for the killer of his Native wife, and a housewife abandons her husband to rejoin her Apache lover's tribe.
True story of a former British soldier on trial for murder in the 19th century Northwest.
While being pursued by the U.S. Cavalry, Indians and the white family they have kidnapped learn about each other.
After a massacre of an Indian village by the U.S army, a survivor, Yellow shirt (Ray Danton) goes after them for revenge. His journey becomes a deadly adventure. His life will be threatened by the hostility of the desert, snakes, hallucinations and of course his encounter with his enemies…
A kickboxing cop abandons the violent life after he accidentally kills his opponent during a match. After quitting, he heads for the Arizona desert to live alone and occasionally work tracking drug runners for the area sheriff. One particularly wily Mexican drug lord, Santos, has been a real thorn in tracker Joe Highhawk's side, so when he encounters the beautiful Claudia and her simpleton brother Anthony running for their lives because she, an accountant, embezzled $20 million from Santos, he decides to help them. This actioner follows what happens next. Along the way, they encounter all sorts of danger, and double cross until the exciting final standoff between the kickboxer and the villain.
A wagon train heads for Denver with a cargo of whisky for the miners. Chaos ensues as the Temperance League, the US cavalry, the miners and the local Indians all try to take control of the valuable cargo.
Farsighted Falcon, chief of the Lakota, seeks refuge in the Black Hills with his wife Blue Hair and two warriors, sole survivors of their tribe. When they are attacked by the outlaw Bashan, Falcon strikes out for the town of Tanglewood to take on Bashan's boss, mining magnate Harrington.
Stodge City is in the grip of the Rumpo Kid and his gang. Mistaken identity again takes a hand as a 'sanitary engineer' named Marshal P. Knutt is mistaken for a law marshal. Being the conscientious sort, Marshal tries to help the town get rid of Rumpo, and a showdown is inevitable. Marshal has two aids—revenge-seeking Annie Oakley and his sanitary expertise.
Marshall Jed Cooper survives a hanging, vowing revenge on the lynch mob that left him dangling. To carry out his oath for vengeance, he returns to his former job as a lawman. Before long, he's caught up with the nine men on his hit list and starts dispensing his own brand of Wild West justice.
Outlaws disguised as Indians commit crimes against settlers but Winnetou and Old Surehand are determined to unmask the bandits and keep the peace.