All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Pat Garrett & Billy the Kid
Best of enemies. Deadliest of friends.
An aging Pat Garrett is hired as a lawman on behalf of a group of wealthy New Mexico cattle barons--his sole purpose being to bring down his old friend Billy the Kid.
An instant favorite. Peckinpah's direction is brutally poetic, Coburn and Kristofferson hide their inner pain with so much masculinity that it hurts, and Dylan's music is soulfully and reminiscent. Like the rest of Peckinpah filmography I've seen this somehow remains contemplative while also maintaining a breakneck pace. This is a definetly a film that I'll be re watching countless times.
Sam Peckinpah has fascinated me from an early age. Dead before I had really become a fervent movie fan, he did leave the world and me in-particular with some classic films to fall in love with. And that's what I've done during the last 30 years.
Pat Garrett & Billy The Kid was derided when it came out back in 1973. Tinkered with over the years and now reappraised as a genuine Western classic, this has cult status written all over it. There are films that bring out the real film fan in us all. Every now and again you get that moment of celluloid where you lose it and immerse yourself completely in an experience and take something new away…
"Maybe he wants to have a drink with me."
Dishonorable poem of poetic dishonor. Socially conscious, post-counterculture, rock & roll western. The story of a man who doesn't want to run being chased by a man who doesn't want to catch him. Lethargy. Inertia. Stasis.
The western genre is typically characterized by a conflict between regretful mourning for the loss of the frontier and cautious optimism for the approach of civilization, but where the prototypical western myth tends to celebrate the arrival of civilized society, Peckinpah is more hesitant to embrace this socialization. While historically located in the same time period as most westerns (it takes place one year after Stagecoach), Pat Garrett & Billy the Kid restricts itself almost single-mindedly to…
The Western as a cinematic artform has been with us since the very beginning. As if film was created, and cinemas built, to capture Westward expansion in the way literature and art could not. The visual splendour of the desolate land, the inherent lyricism of nature combined better on screen than in any other medium. Perhaps even better than in life itself. What makes the greatest Western of all time? It would have to be inclusive, if not restricted, to encompass all of the major sub-genres that proliferate the main subject as a whole. The greatest Western ever made would have to have elements of manifest destiny, following the American Dream in this most American of artform, the darkness of…
Few actors have ever been able to hold their own on screen when starring opposite Steve McQueen. James Coburn did it three times, something that the Laurel, Nebraska born native should have been immensely proud of. Firm friends for many years and second only to McQueen himself in the coolness stakes, Coburn was a terrific actor and a true Hollywood legend. During a long and distinguished career he also teamed up with another renegade to stunning effect, a certain Mr Sam Peckinpah, who always brought out the best in the big man.
Pat Garrett & Billy The Kid had a troubled production and a less than glorious reception upon its release. Harried by the studio to deliver the film on time…
There are many things that make this one of my favorite underrated western, but first and foremost is the performance of James Coburn, my favorite of his. The man lives and breathes the old west without opening his mouth. He just has the look. Then he speaks, and has a command that is unquestioned. He is a force at the center of this film and has tremendous natural chemistry with another blindsiding force, Kris Kristofferson. I'm not as familiar with Kris in his younger acting roles, but he somehow fits into this drunken madman world just as seamlessly as Coburn.
The next best thing is of course the wild man direction from Sam Peckinpah. I don't think a drunkard has…
Restored 1988 Turner Preview Edition
Drained of the rage and furious violence of The Wild Bunch, Peckinpah returns to the western for another "end of the west" story, but one filled with an immense sorrow and melancholy that casts lore and legend in the bitter light of a very human failure. Coburn's Garrett here is not some grand mythic figure, rather an aging man exhausted by a life spent fighting the establishment, now willing to compromise his own stout moral code in favor of an comfortable senescence.
Coburn plays him as a man anguished by his reluctant capitulation to the strong-arming influence of money and government, filled with a self-hatred that curdles into a cold cruelty. This cruelty slowly builds…
Need to revisit.
I don't have much to say about this film other than I really enjoyed it despite a slow start and that the scene in which the sheriff played by Slim Pickens dies by the river while his wife, played by Katy Jurado, tries to sooth him while 'Knocking on Heaven's Door' plays is a perfect piece of film. It has become one of my favourite scenes from any film. Poignant and sublimely acted in an understated way, with Jurado and Pickens using their faces to express deep emotions.
"hoo boy, peckinpah was so obsessed with masculinity that he tried to fuck an entire fleet of JCBs" - james coburn, from the monsters inc. commentary track
This review may contain spoilers. I can handle the truth.
One of the best Peckinpah films out there; it might be my current favorite. The version watched was Peckinpah's director's cut, and it really felt like the work of a master who was firing on all cylinders: efficient, restrained, elegiac, meditative, artistic, political, cynical, and beautiful.
The plot is familiar territory for Peckinpah: a road/border movie about a collapsing way of life where the boundaries of good and bad are propelled into a complicated, capitalistic flux.
Four scenes stood out in particular:
1) A low-angle shot of a group of children playing on the hangman's noose, as if it were a swing, with an American flag blowing in the wind in the left third of the frame. Scathingly encapsulates the…
Is Bob Dylan better at song writing or knife fighting? This film makes a compelling case for both.
Never really jells as a memorable western. The relationship between Pat and Billy isn't that well developed or that interesting. A very forgettable western for me.
Garrett: It feels like... times have changed.
Billy: Times, maybe. Not me.
Another superb film by Peckinpah, I am so glad to see James Coburn from my favorite Peckinpah film, 'Cross of Iron.' Having been a longtime Western fan, I can't believe it has taken me so long to watch this. The opening grabbed me immediately, quickly highlighting Garrett and the Kid's last friendly confrontation. One of the best aspects of the film is its soundtrack and supporting actor Bob Dylan. Tense and heartfelt, with plenty of Peckinpah shootouts. Worth the watch to see the cat and mouse manhunt to the finale.
My 40 favorite westerns of what I have seen. Excluded comedy (Blazing Saddles, Maverick etc..) and some films that often…
Today I watched Mamma Mia and it made me question whether I loved movies at all.
So, I'm asking all…