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The Long Riders (1980) ****

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When  Walter Hill  finally got around to making his first actual western (as opposed to telling western-styled stories in other genres), it resulted in 1980's The Long Riders , a project that brothers Stacy and James Keach  (who also star and co-wrote the story for) had been attempting to produce for nearly a decade. The casting of four sets of brothers (the Carradines, Keaches, Quaids, and Guests) in the film's main roles never feels like a gimmick—there's a natural quality to their interplay and the on-screen chemistry is palpable. This filmic interpretation of the  James–Younger Gang  legend features an engaging story, wonderful performances, fantastic editing, an authentically regional score by  Ry Cooder , impressive stunts, and a bloody slow motion shootout to rival  Sam Peckinpah . Walter Hill Films Ranked

Another WolfCop (2017) **1/2

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While I liked it more the second time I saw it, I didn't love Lowell Dean 's WolfCop (2014). Its sequel,  Another WolfCop (2017), while just as stupid, was slightly more enjoyable (particularly so with a large and appreciative audience; I don't think films like this work as well when viewing at home alone). I liked seeing three of the  Astron-6  guys in a clear reference to a similar scene in  RoboCop   (1987) ( review ). Kevin Smith (in an uncredited role), while amusing, outstayed his welcome a bit. The  Dude Designs ’  Cobra   (1986) ( review ) poster homage—a refreshingly minimalist design compared to his usual super busy work—is fun. There's some great effects work, but also some stuff that is pretty meh, and the way it's all shot is uninspired. Admittedly, I laughed a lot at this dumb movie, but, like its predecessor, in a few years (or less) time, I'll probably have forgotten everything about it.

Private Crimes (1993) ***1/2

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Private Crimes ( Delitti privati) (1993), a 4-part, 6-hour miniseries, is basically the Italian  Twin Peaks  (1990–1991), playing out as a super slow burn made-for-TV  giallo . There’s a Laura Palmer -like character found dead by a river. There’s a Donna-like character who works at a cafe. Theres a James-like character with a scooter who's on the run. There’s a Blackie-like character who is a gentleman’s club owner. There’s a necklace found on the ground. There’s a diary. There’s a labyrinthine web of deceit, family secrets, red herrings, and affairs. It’s very melodramatic.  This is the theme song ! There are more connections. We all know Italians love to rip-off other films/genres (in that charming way that they did, primarily in the 1970s–1990s). Usually it’s done in a super obvious, super low budget (but really fun) manner, but this show is a bit more subtle, a bit classier, and stands on its own merits.  Giallo queen  Edwige Fenech (who also produced) is paired once again w

Conan The Destroyer (1984) *** [Conan Double Feature Pt. 2]

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Forgoing the lyrical, contemplative quality of its 1982  predecessor ( review ) in favor of humor and camp, Conan The Destroyer (1984) is nonetheless a very entertaining fantasy adventure. There’s still a fair amount of bloodletting (the film was released mere days before the PG-13 rating was introduced), plus great costumes and production design, and beautiful locations (shot in Mexico).  The characters in CTD are fun and the cast includes some wonderful character actors such as Grace Jones , Tracey Walter , and Sarah Douglas  ( Mako makes a welcome return as well). Some of the practical effects appear a bit dated now, but they have a charm and tangible quality that I love.  Basil Poledouris  returned to deliver another majestic musical accompaniment, though nothing can hold a candle to his score for Barbarian .  Rather than compare Destroyer to the first film, it’s best to just enjoy this (only slightly) lower-budgeted sequel for what it is—a movie that embraces its pulp roots a