Film What did you watch last night???

[RAK]

 

Edited June 5, 2021 by RAK

[Fortis93]

I always saw Office Space more as a documentary than a movie. 

[Squeegie McGee]

EVERYONE who commutes to work can relate to this... lol 😂

 

 

[deckard99]

6 minutes ago, Squeegie McGee said:

EVERYONE who commutes to work can relate to this... lol 😂

 

 

 

Haha, I used to have to drive from New Jersey to Long Island for work and it was just like that! 3 hours each way some days. 

[Squeegie McGee]

2 minutes ago, deckard99 said:

 

Haha, I used to have to drive from New Jersey to Long Island for work and it was just like that! 3 hours each way some days. 

@deckard99That must really suck! The only time I deal with rush hour is when I get out of work at 2:30pm. It already starts festering by then

Edited June 5, 2021 by Squeegie McGee

[Basil]

On 6/5/2021 at 1:51 AM, Squeegie McGee said:

I was watching this yesterday afternoon since it came on Starz... such a classic!

 

remember this brilliant film if we only all had the balls to do this  

[Basil]

well for me last couple of days 

was bridge over the river kwai 4k version finally got round to watching the 4k version done a nice job on it

and

tora tora tora extended japanese version shows a far better film in much more detail would highly recommend to anyone 👍

 

 

basil 

[Veum]

🥤🍿🤠🎬📽️🎞️🎥📺💽

 

MHz Choice

 

2 Seasons

MYSTERY | SWEDEN | SCANDINAVIAN CRIME FICTION | SWEDISH WITH ENGLISH SUBTITLES | TV-14 
Based on author Liza Marklund’s best-selling crime novels, Annika Bengtzon is a journalist and working mother of two struggling to raise her family. Fearless in her search for the truth, she won’t take no for an answer from anyone: not from prestigious academicians or drug dealers or from colleagues inside her own profession.

 

 

Season 1 Episode 1 • Mystery, TV-14, 01-Sep-2015

While covering the Nobel Prize Banquet, Annika witnesses the murder of two prestigious individuals right in front of her.

Season 1 Episode 2 • Mystery, TV-14, 01-Sep-2015

On her way to a family gathering, Annika has to leave her children with her boyfriend due to the murder of a famous TV host.

 

Edited June 6, 2021 by Veum

[Veum]

4 hours ago, Veum said:

🥤🍿🤠🎬📽️🎞️🎥📺💽

 

MHz Choice

 

2 Seasons

MYSTERY | SWEDEN | SCANDINAVIAN CRIME FICTION | SWEDISH WITH ENGLISH SUBTITLES | TV-14 
Based on author Liza Marklund’s best-selling crime novels, Annika Bengtzon is a journalist and working mother of two struggling to raise her family. Fearless in her search for the truth, she won’t take no for an answer from anyone: not from prestigious academicians or drug dealers or from colleagues inside her own profession.

 

 

Season 1 Episode 1 • Mystery, TV-14, 01-Sep-2015

While covering the Nobel Prize Banquet, Annika witnesses the murder of two prestigious individuals right in front of her.

Season 1 Episode 2 • Mystery, TV-14, 01-Sep-2015

On her way to a family gathering, Annika has to leave her children with her boyfriend due to the murder of a famous TV host.

 

 

DISNEY+

 

 

Star Wars: The Bad Batch

Star Wars: The Bad Batch follows the elite and experimental clones of the Bad Batch (first introduced in “The Clone Wars”} as they find their way in a rapidly changing galaxy in the immediate aftermath of the Clone War.. Members of Bad Batch—a unique squad of clones who vary genetically from their brothers in the Clone Army—each possesses a singular exceptional skill that makes them extraordinarily effective soldiers and a formidable crew.

 

S1 Ep1

AFTERMATH Separatists pushed to the brink! Republic forces continue to mount victories on battlefronts across the galaxy. After the Jedi Knights thwarted an attempt to kidnap Chancellor Palpatine, the evil droid general Grievous retreated to the Outer Rim. With his legions of battle droids severely depleted, Grievous mounts a desperate and brutal counterattack across several star systems. We find Republic clone troopers locked in deadly combat on the besieged world of Kaller. Led by Jedi Master Depa Billaba, they struggle to hold their position as they wait for reinforcements to arrive....

 

 

 

Camilla Läckberg's The Fjällbacka Murders

S1 Ep 6

THE QUEEN OF LIGHT 
On a crystal clear, starry winter night a young woman dressed in a traditional Lucia gown is seen running across the ice. When she reaches an unfrozen channel, she drops her crown of candles in the snow and throws herself into the dark waters. As Erica investigates the case, she discovers the missing Lucia, a secret love affair and a man seeking revenge.

 

Edited June 7, 2021 by Veum

[Scary Hair]

ONE CUT OF THE DEAD    20 out Of 5 ( NO SPOILERS )

 

Where to start Film 4 at 1 am a recommendation from Last Exits on Twitter  . I gave it a go and what fantastic fun ,

 

A Japanise low budget Zombie move your usual fair that turned out to be ANYTHING Bit usual fair ,

 

STICK WITH IT AFTER THE TITLES GO UP 

 

Even Rich AND Jas where laughing at this work of total genius 

 

 

Trailer Here 

 

 

[Veum]

🥤🍿🤠🎬📽️🎞️🎥📺💽

 

MHz Choice

 

 

A criminal investigator and a forensic psychologist team up to track down serial killers in Copenhagen.

 

Season 1, Episode 1 • Crime, Drama, TV-14, 06-Nov-2018

Katrine and Thomas are drawn into a perilous hunt for a serial killer. Directed by Birger Larsen, 2011.

 

Season 1, Episode 2 • Crime, Drama, TV-14, 06-Nov-2018 

As the killer’s pattern becomes clear, the team faces a crucial decision.

 

 

[Squeegie McGee]

A little bit early but watching a classic...

(Added the infamous song that goes so well with this movie)

 

I'm surprised there isn't a premium set for this at all and in 4k 🧐

Edited June 8, 2021 by Squeegie McGee

[Casiusco]

 

 

"Dance with the devil" ("Perdita Durango", USA-Spain 1997). 

 

For his English-language debut, writer/director Álex de la Iglesia (DAY OF THE BEAST) chose novelist Barry Gifford’s prequel to WILD AT HEART featuring sociopath priestess Perdita Durango. But when the U.S. distributor saw the finished film, they slashed 10+ minutes of gleefully profane sex & violence and dumped it under the title DANCE WITH THE DEVIL. Severin is proud to present the complete Director’s Cut starring Oscar® nominee Rosie Perez and Academy Award® winner Javier Bardem in the “amoral love story” (DVD Talk) filled with human sacrifices, kidnapping, murder, fetus trafficking and the dogged DEA agent (James Gandolfini) on the trail of it all. Don Stroud (DJANGO UNCHAINED), Demián Bichir (THE HATEFUL EIGHT), Alex Cox (REPO MAN) and Screamin’ Jay Hawkins co-star in this “splendidly irresponsible” (Moria) joyride to the dark side.

 

 

It had been many years since I saw this movie, I had it on DVD and I couldn't remember why I had fun. Now that there is a 4K edition I had to see it again and know it.

And I had fun again.

 

It's a road movie maybe sometimes reminiscent of Tarantino's cinema, especially of his first films, but not so good film, with more humor, and a certain lighthearted irony. Maybe if sometimes it did not try to be (so) comic it would have been a better film; sometimes it has a hard time maintaining the appropriate tone and balance between the action and the comic details, but still, it has good things, it's still a very funny film.

 

And Romeo Dolorosa is already without doubt a character who deserves a second part or a spin off.

 

 

 

 

 

[Veum]

🥤🍿🤠🎬📽️🎞️🎥📺💽

 

MHz Choice

 

 

 

She’s a former Stasi spy and he’s an Arab importer: not your usual detective pair, but she’s got skills and he’s gotconnections.

 

The Fox: Traces of the Past (Sn1 Ep3) - Anne Search for her son becomes a catastrophe.

 

 

 

Russian thriller about a team of deprogrammers who rescue people from cults - but their latest assignment pushes them to the brink.

 

S1 Ep 1• Drama, TV-14, 08-Jun-2021

A deadly cat-and-mouse game begins when Nika is kidnapped.

 

Edited June 10, 2021 by Veum

[Casiusco]

 

Sometimes, coincidences put two movies in front of you with some kind of implicit connection. Without pretending to look like Godard and finding resonances between images from different periods, watching these two films almost one after another has been a very interesting experience. Because, in theory, both speak of the same west, as concept; and in practice it's still the same west although expressed in a different way; but I don't see them as contradictory, but complementary.

 

Río Grande

 

It's one of those movies that I have always liked, and that I have seen many times. I have someone close to me who puts it from time to time on TV so that I can get to know a new great movie. And I like it, as I also really like John Ford's cinema.

 

Far from assuming it as a flat story, without edges; and far from believing that i'is only a theater of well-intentioned and artificial topics, I have always had the feeling that Ford's cinema manages to mix with subtle dissimulation some of the best and worst things of the "western", of that society or the reality that was behind. At least based on the movies, with the limitations that this implies.

 

"Río Grande" is a movie where, deep down, nobody is perfect; neither the good ones do everything right, nor the bad ones do things for no reason. And where some of the best characters are the ones who have the most difficulty communicating what they have inside. The scene of the meeting between Captain Kirby York and his Mexican counterpart reflects it in an almost current way both the validity of certain prejudices, existing in many parts of the world around different countries, and, above all, the distance between people and their governments, between what some order them, and what they really need. Between what is and what should be.

At the same time, the film exposes morally objectionable attitudes and facts -like killing someone- without judging them, or telling us what to think; but putting this acts in the hands of characters that we like, pleasant or sympathetic characters in the context of the film; which, once again, slyly, is a way of generating a contrast and a certain space for debate around these facts, and the society that assumes them as something normal, or simply possible.

The native americans are the bad guys, but as Ford represents them,they are people who have been left without a state, trapped on both sides of a border that others have drawn as if they did not exist. Ford doesn't criticize anything explicitly, he doesn't even do anything to imply it that way, but the intentional context of his story suggests -beyond the plot- the representation of a society and a more complex situation than it seems; at the same time he develops a simple, enjoyable, and very entertaining main story.

 

It's one of the classic elements of Ford: to put honest, moral characters, living as something normal a situation that, underneath, adds contradictions that make these characters define themselves in the way in which they assume that contradictions. The charismatic Captain Kirby York -a great John Wayne- assumes it and takes sides when he looks at the Mexican captain knowing that they are thinking the same thing, and finally sends his own doctor to help them.

 

Because if something is "Rio Grande", it's entertaining, with a funny story for the public, and some brilliant and charismatic characters; from Captain Kirby York himself, to the brilliantly funny Sergeant Timothy Quincannon, with a big Victor McLaglen. The reality of a time and a society told through a friendly and entertaining story, with a more complex background than it seems at first glance. 

 

Soon someone will offer me to see it for the first time... again, and I will say yes as if I had never seen it before. And I will enjoy it for sure.

 

First Cow

 

It's what for better or worse we could call a realistic western; dirty, miserable, desperate, wet, chaotic. Not because the film is, where -maybe in contrast- what we see is almost a simple, calm fable, and developed even with specific care; but because it reflects and brings us a little closer to that primordial west, far from clean and elegant women, from perpetually groomed men, and from that extreme neatness in appearance and in the family, and sometimes even in their small societies, where not even mud was generated when it rained.

 

It's a modest but very interesting approach, and at the same time effective, to a specific kind of authentic old west, where those who arrived were not exemplary, nor did they have houses typical of a tourist bungalow, nor did the sun shine continuously; the west of the miserable, of the seekers, of the absence of law, order, or values, in the face of the desperation that the need to survive supposes.

 

But instead of materializing it in an artificial setting that reflects each of these points as a list of appropriate props, it does so by materializing this point of view -and this reality- about the story itself; what tells and how is told, what the characters are like, and why they act like that. Their hopes, their needs, and their burdens. And everything that surrounds them in a world still to be done.

 

In fact, that realism implicit in the fable is manifested in the first scene of the film, telling us to our faces that we are not so different, or we are not that far away: time has simply passed. That those people -what happened and how it happened- were as real as us, and their history is the history of that place even today. Like ghosts of our own past.

 

I loved it. Maybe is the Reichardt film that I liked the most. 

 

Conclusion

 

Both films seen in such a short time, although perhaps they speak about different places, even different periods, also speak of a common reality in a complementary way. And its characters, what they live, and what surrounds them, resonates from one movie to the other, as if both were the upper floor and the lower floor of the same house.

 

[Veum]

On 6/10/2021 at 5:48 AM, Casiusco said:

 

Sometimes, coincidences put two movies in front of you with some kind of implicit connection. Without pretending to look like Godard and finding resonances between images from different periods, watching these two films almost one after another has been a very interesting experience. Because, in theory, both speak of the same west, as concept; and in practice it's still the same west although expressed in a different way; but I don't see them as contradictory, but complementary.

 

Río Grande

 

It's one of those movies that I have always liked, and that I have seen many times. I have someone close to me who puts it from time to time on TV so that I can get to know a new great movie. And I like it, as I also really like John Ford's cinema.

 

Far from assuming it as a flat story, without edges; and far from believing that i'is only a theater of well-intentioned and artificial topics, I have always had the feeling that Ford's cinema manages to mix with subtle dissimulation some of the best and worst things of the "western", of that society or the reality that was behind. At least based on the movies, with the limitations that this implies.

 

"Río Grande" is a movie where, deep down, nobody is perfect; neither the good ones do everything right, nor the bad ones do things for no reason. And where some of the best characters are the ones who have the most difficulty communicating what they have inside. The scene of the meeting between Captain Kirby York and his Mexican counterpart reflects it in an almost current way both the validity of certain prejudices, existing in many parts of the world around different countries, and, above all, the distance between people and their governments, between what some order them, and what they really need. Between what is and what should be.

At the same time, the film exposes morally objectionable attitudes and facts -like killing someone- without judging them, or telling us what to think; but putting this acts in the hands of characters that we like, pleasant or sympathetic characters in the context of the film; which, once again, slyly, is a way of generating a contrast and a certain space for debate around these facts, and the society that assumes them as something normal, or simply possible.

The native americans are the bad guys, but as Ford represents them,they are people who have been left without a state, trapped on both sides of a border that others have drawn as if they did not exist. Ford doesn't criticize anything explicitly, he doesn't even do anything to imply it that way, but the intentional context of his story suggests -beyond the plot- the representation of a society and a more complex situation than it seems; at the same time he develops a simple, enjoyable, and very entertaining main story.

 

It's one of the classic elements of Ford: to put honest, moral characters, living as something normal a situation that, underneath, adds contradictions that make these characters define themselves in the way in which they assume that contradictions. The charismatic Captain Kirby York -a great John Wayne- assumes it and takes sides when he looks at the Mexican captain knowing that they are thinking the same thing, and finally sends his own doctor to help them.

 

Because if something is "Rio Grande", it's entertaining, with a funny story for the public, and some brilliant and charismatic characters; from Captain Kirby York himself, to the brilliantly funny Sergeant Timothy Quincannon, with a big Victor McLaglen. The reality of a time and a society told through a friendly and entertaining story, with a more complex background than it seems at first glance. 

 

Soon someone will offer me to see it for the first time... again, and I will say yes as if I had never seen it before. And I will enjoy it for sure.

 

First Cow

 

It's what for better or worse we could call a realistic western; dirty, miserable, desperate, wet, chaotic. Not because the film is, where -maybe in contrast- what we see is almost a simple, calm fable, and developed even with specific care; but because it reflects and brings us a little closer to that primordial west, far from clean and elegant women, from perpetually groomed men, and from that extreme neatness in appearance and in the family, and sometimes even in their small societies, where not even mud was generated when it rained.

 

It's a modest but very interesting approach, and at the same time effective, to a specific kind of authentic old west, where those who arrived were not exemplary, nor did they have houses typical of a tourist bungalow, nor did the sun shine continuously; the west of the miserable, of the seekers, of the absence of law, order, or values, in the face of the desperation that the need to survive supposes.

 

But instead of materializing it in an artificial setting that reflects each of these points as a list of appropriate props, it does so by materializing this point of view -and this reality- about the story itself; what tells and how is told, what the characters are like, and why they act like that. Their hopes, their needs, and their burdens. And everything that surrounds them in a world still to be done.

 

In fact, that realism implicit in the fable is manifested in the first scene of the film, telling us to our faces that we are not so different, or we are not that far away: time has simply passed. That those people -what happened and how it happened- were as real as us, and their history is the history of that place even today. Like ghosts of our own past.

 

I loved it. Maybe is the Reichardt film that I liked the most. 

 

Conclusion

 

Both films seen in such a short time, although perhaps they speak about different places, even different periods, also speak of a common reality in a complementary way. And its characters, what they live, and what surrounds them, resonates from one movie to the other, as if both were the upper floor and the lower floor of the same house.

 

 

🥤🤠 🎬 @Casiusco good time to look up & watch these 2 classic gems with the “DUKE”, you think? 🤔 

 

 

A group of strangers are thrown together into extraordinary circumstances while traveling a dangerous route from Arizona to New Mexico.

 

 

 

A young cowhand rebels against his rancher stepfather during a perilous cattle drive.

 

 

 

[Casiusco]

7 hours ago, Veum said:

 

🥤🤠 🎬 @Casiusco good time to look up & watch these 2 classic gems with the “DUKE”, you think? 🤔 

 

 

A group of strangers are thrown together into extraordinary circumstances while traveling a dangerous route from Arizona to New Mexico.

 

 

 

A young cowhand rebels against his rancher stepfather during a perilous cattle drive.

 

 

 

 

You have chosen two great movies. I like them very very much. 

 

They are films that I have already seen, and that years later you always see again.

 

The case of John Wayne is very curious, because I have always had the impression that he did great jobs directed by great directors, while in films with lower level directors he did not shine as much. But his contribution to some of the great classics is undoubted.

 

Maybe in the later stage of him he gave some underrated performances, but where he did a great job without needing a director on the level of John Ford. But yes, at that age with Hawks, Ford, and many others, he offered some indelible moments from classic cinema.

 

By the way, if you ever see First Cow, let us know what you think. I'm curious how a lover of classic westerns feels or takes such a movie.  

 

 

Edited June 11, 2021 by Casiusco

[Veum]

On 6/10/2021 at 5:48 AM, Casiusco said:

 

Sometimes, coincidences put two movies in front of you with some kind of implicit connection. Without pretending to look like Godard and finding resonances between images from different periods, watching these two films almost one after another has been a very interesting experience. Because, in theory, both speak of the same west, as concept; and in practice it's still the same west although expressed in a different way; but I don't see them as contradictory, but complementary.

 

Río Grande

 

It's one of those movies that I have always liked, and that I have seen many times. I have someone close to me who puts it from time to time on TV so that I can get to know a new great movie. And I like it, as I also really like John Ford's cinema.

 

Far from assuming it as a flat story, without edges; and far from believing that i'is only a theater of well-intentioned and artificial topics, I have always had the feeling that Ford's cinema manages to mix with subtle dissimulation some of the best and worst things of the "western", of that society or the reality that was behind. At least based on the movies, with the limitations that this implies.

 

"Río Grande" is a movie where, deep down, nobody is perfect; neither the good ones do everything right, nor the bad ones do things for no reason. And where some of the best characters are the ones who have the most difficulty communicating what they have inside. The scene of the meeting between Captain Kirby York and his Mexican counterpart reflects it in an almost current way both the validity of certain prejudices, existing in many parts of the world around different countries, and, above all, the distance between people and their governments, between what some order them, and what they really need. Between what is and what should be.

At the same time, the film exposes morally objectionable attitudes and facts -like killing someone- without judging them, or telling us what to think; but putting this acts in the hands of characters that we like, pleasant or sympathetic characters in the context of the film; which, once again, slyly, is a way of generating a contrast and a certain space for debate around these facts, and the society that assumes them as something normal, or simply possible.

The native americans are the bad guys, but as Ford represents them,they are people who have been left without a state, trapped on both sides of a border that others have drawn as if they did not exist. Ford doesn't criticize anything explicitly, he doesn't even do anything to imply it that way, but the intentional context of his story suggests -beyond the plot- the representation of a society and a more complex situation than it seems; at the same time he develops a simple, enjoyable, and very entertaining main story.

 

It's one of the classic elements of Ford: to put honest, moral characters, living as something normal a situation that, underneath, adds contradictions that make these characters define themselves in the way in which they assume that contradictions. The charismatic Captain Kirby York -a great John Wayne- assumes it and takes sides when he looks at the Mexican captain knowing that they are thinking the same thing, and finally sends his own doctor to help them.

 

Because if something is "Rio Grande", it's entertaining, with a funny story for the public, and some brilliant and charismatic characters; from Captain Kirby York himself, to the brilliantly funny Sergeant Timothy Quincannon, with a big Victor McLaglen. The reality of a time and a society told through a friendly and entertaining story, with a more complex background than it seems at first glance. 

 

Soon someone will offer me to see it for the first time... again, and I will say yes as if I had never seen it before. And I will enjoy it for sure.

 

First Cow

 

It's what for better or worse we could call a realistic western; dirty, miserable, desperate, wet, chaotic. Not because the film is, where -maybe in contrast- what we see is almost a simple, calm fable, and developed even with specific care; but because it reflects and brings us a little closer to that primordial west, far from clean and elegant women, from perpetually groomed men, and from that extreme neatness in appearance and in the family, and sometimes even in their small societies, where not even mud was generated when it rained.

 

It's a modest but very interesting approach, and at the same time effective, to a specific kind of authentic old west, where those who arrived were not exemplary, nor did they have houses typical of a tourist bungalow, nor did the sun shine continuously; the west of the miserable, of the seekers, of the absence of law, order, or values, in the face of the desperation that the need to survive supposes.

 

But instead of materializing it in an artificial setting that reflects each of these points as a list of appropriate props, it does so by materializing this point of view -and this reality- about the story itself; what tells and how is told, what the characters are like, and why they act like that. Their hopes, their needs, and their burdens. And everything that surrounds them in a world still to be done.

 

In fact, that realism implicit in the fable is manifested in the first scene of the film, telling us to our faces that we are not so different, or we are not that far away: time has simply passed. That those people -what happened and how it happened- were as real as us, and their history is the history of that place even today. Like ghosts of our own past.

 

I loved it. Maybe is the Reichardt film that I liked the most. 

 

Conclusion

 

Both films seen in such a short time, although perhaps they speak about different places, even different periods, also speak of a common reality in a complementary way. And its characters, what they live, and what surrounds them, resonates from one movie to the other, as if both were the upper floor and the lower floor of the same house.

 

 

1 hour ago, Casiusco said:

 

You have chosen two great movies. I like them very very much. 

 

They are films that I have already seen, and that years later you always see again.

 

The case of John Wayne is very curious, because I have always had the impression that he did great jobs directed by great directors, while in films with lower level directors he did not shine as much. But his contribution to some of the great classics is undoubted.

 

Maybe in the later stage of him he gave some underrated performances, but where he did a great job without needing a director on the level of John Ford. But yes, at that age with Hawks, Ford, and many others, he offered some indelible moments from classic cinema.

 

By the way, if you ever see First Cow, let us know what you think. I'm curious how a lover of classic westerns feels or takes such a movie.  

 

 

 

🤠@Casiusco went ahead & ordered tonight from AMZ on your recommend & this trailer, thank you 🙏 

 

 

[Veum]

🥤🍿🤠🎬📽️🎞️🎥📺💽

 

FXM Retro

 

The Last Hard Men - An escaped convict kidnaps a retired sheriff's daughter in 1909 Arizona.

 

 

[GuyIncognit0]

So, I found myself browsing HBO max's catalog last night since I will be canceling our sub (signed up for that 6-month HBO max special at the beginning of the year and find it too expensive). Came across Meatballs and thought I'd give it a go. Didn't realize until afterward that it was Bill Murray's big screen debut.

 

Not the most exciting film, but it was good for a laugh or two and was endearing at parts. It mostly made me miss childhood 😆

 

 

[Veum]

🥤🍿🤠🎬📽️🎞️🎥📺💽

 

Episodes 364-71

 

 

 

 

[Basil]

@Veum like your ds set there not my cup of tea but was it expensive?

 

basil 👍

[Veum]

29 minutes ago, Basil said:

@Veum like your ds set there not my cup of tea but was it expensive?

 

basil 👍

 

@Basil, long story, however I purchased it from an 🇺🇸 retailer to get the Jonathan Frid (he was Barnabas the vampire on DS) autographed card and thought they lost it, so I ordered just the regular edition and low & behold the autographed one showed up right after (I eventually sold that one to an LA person, so it ended up paying for my regular edition 🙌)! 👍 🧛‍♂️

[Veum]

 

🥤🍿🤠🎬📽️🎞️🎥📺💽

 

 

Rear Window

A wheelchair-bound photographer, becomes voyeur on his neighbors and becomes convinced one of them has committed murder.

 

 

[Veum]

🥤🍿🤠🎬📽️🎞️🎥📺💽

 

 

A rancher on the Arizona border becomes the unlikely defender of a young Mexican boy desperately fleeing the cartel assassins who've pursued him into the U.S.
 

 

 

A marshal tries to bring the son of an old friend, an autocratic cattle baron, to justice for the rape and murder of his wife.
 

 

Edited June 24, 2021 by Veum