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Michael Wayne

Review: The Train Robbers

[Originally published in Movietone News 22, April 1973]

Burt Kennedy is one of those fitfully interesting but dreadfully unreliable minor talents whose films are saved—when they are saved—by (frequently unassimilated) quirks in his style and treatment. Hannie Caulder, that bizarre European-based western of last year, included a wealth of outrageousness that seemed to presage a return to grace and a renewal of promise for Kennedy the director: Raquel Welch strutting around the desert naked under a poncho, Robert Culp prancing auspiciously out of the wilderness in El Topo hat and granny glasses to teach her how to shoot; brothers Ernest Borgnine, Strother Martin, and Jack Elam forming a manically inept criminal trio who nevertheless managed to be lethal for two of Hannie’s menfolk; Christopher Lee as a gaunt and happy gunsmith and family man living on the seashore; and a never-identified stranger in elegant black who materialized wordlessly now and again to collaborate in Hannie’s adventures.

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Review: Brannigan

[Originally published in Movietone News 41, May 1975]

There’s some terrific supporting material in that cast list, but everybody onscreen looks, and has excellent reason for feeling, pretty embarrassed about the whole thing. Brannigan is the sort of picture that gives John Wayne movies a bad name. Come to think of it, Brannigan is a bad name: it’s locked right in on the monolithic image of Wayne as 110-percent American tough guy with two fists and only one operational brain lobe, and whenever it takes four scriptwriters to come up with that kind of arithmetic, somebody’s in trouble.

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