Now With More Than 3600 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 3600 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Saturday, August 13, 2011


Ten years after GUNFIGHT AT THE O.K. CORRAL, John Sturges made the mistake of double-dipping with this sleepy follow up. The gimmick is that the film starts at that famous shootout, then we tag along as Wyatt Earp (a dyspeptic James Garner) and tubercular pal ‘Doc’ Holliday (Jason Robards) go after what’s left of the devious Clanton gang (Robert Ryan & Co.). And these Clanton guys don’t fight fair, if they can’t shoot you in the back they’re apt to run for political office or drag you into court. No wonder Wyatt shoots first and asks questions later. The talent line up sounds promising: script by Edward Anhalt, lensing from Lucien Ballard, a Jerry Goldsmith score; and there are good supporting players like William Windom & William Schallert alongside rising unknowns like Monte Markham, Frank Converse & even a babyfaced Jon Voight, but the thing never takes off. Robards shuffles off with the remains, and it’s slim pickin’s.

WATCH THIS, NOT THAT/SCREWY THOUGHT OF THE DAY: John Ford’s MY DARLING CLEMENTINE/’48 is the classic O.K. Corral pic, but adventurous types ought to check out the restored edition of CHEYENNE AUTUMN/’64 for James Stewart’s corrupt middle-aged lawman; or even Blake Edwards’ much-maligned SUNSET/’88, an uneven pic (to put it nicely!), but with James Garner bringing something special to his second go at Wyatt.

No comments: