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.

Friday, September 4, 2015


Second-tier Spaghetti-Western specialist Sergio Corbucci caught some welcome blowback notoriety when Quentin Tarentino found inspiration (okay, really just a title) in his DJANGO films.* And this non-DJANGO pic isn’t all that different from those earlier Corbucci pics, perhaps a bit more consistent in execution. (Not necessarily a good thing since it stunts ‘highs’ as well as ‘lows.’) Franco Nero, square of jaw, blue of eye, is again treading around war-torn revolutionary Mexico, this time with a boxcar full of guns & munitions. But which faction should he sell to? Tomas Milian, a largely comic bandito in cahoots with a venal General? Fernando Rey, a professorial pacifist revolutionary with a youthful following of trigger-happy Marxists? The standing Mexican army? What about Jack Palance, a shady business profiteer, currently searching for Senor Rey who’s being held prisoner North-of-the-Border? Milian & Nero wind up working together, a partnership of convenience, as one set piece follows another to varying effect. Corbucci can be awful lazy at times (when in doubt, toss in a Gatling gun), then turn around and nail a tricky location trail sequence that’s largely defined by character placement within landscape. (He certainly has some unusual ideas about what the Rio Grande looks like!) And while you don’t get the blissed-out pay-offs found in a classic Sergio Leone film, you do get more Ennio Morricone on the soundtrack. This time with a lulu of a main theme wailing away with chorus.

DOUBLE-BILL: The first DJANGO/’66 has a lot good stuff in it. OR: See what il maestro does with similar elements & a similar set-up in Sergio Leone’s lesser known DUCK YOU SUCKER/’71. (See Write-Ups below.)

No comments: