Return of the Bad Men

Return of the Bad Men

The success of 1947's Badman's Territory prompted RKO Radio to assemble another "outlaw rally," Return of the Badmen. Randolph Scott plays US marshal Vance, assigned to rid the Oklahoma Territory of outlaws. This proves to be quite a challenge, inasmuch as virtually every frontier bad guy has converged upon the territory. Led by the surly Sundance Kid (Robert Ryan), the rogue's gallery includes the Younger Brothers (Steve Brodie, Richard Powers, Robert Bray), the Daltons (Lex Barker, Walter Reed, Michael Harvey) and Billy the Kid (Dean White). For all the formidable villainy, the film's most fascinating conflict develops between the two heroines: feisty Cheyenne (Anne Jeffreys) and prim 'n' proper Madge Allen (Jacqueline White).

  • Rating:
    4.00 out of 5
  • Length:90 minutes
  • Release:1948
  • Language:English
  • Reference:Imdb
  • Keywords:murder,   revenge,   judge,  

When part of Oklahoma Territory becomes officially part of the U.S., Vance Cordrell is forced to deal with some of the most infamous outlaws of the Old West. . You can read more in Google, Youtube, Wiki


Return of the Bad Men torrent reviews

Matthew A (mx) wrote: Good but Restrepo was better

Kristine C (br) wrote: True events new fact for me ! Loved it

Brandon W (mx) wrote: It's really cool and interesting that Brad Bird decided to do a Mission Impossible movie and make it his first live-action movie. What got me a bit worried at first, were the writers who are relatively unknown and only do TV shows, and that Brad Bird isn't writing the movie. As is, Mission Impossible: Ghost Protocol is a really great movie that just keeps getting bigger and bigger in the series. Tom Cruise is fantastic in this, and Simon Pegg is really funny also. The new cast like Jeremy Renner and Paula Patton are really good. The action scenes are very exciting to watch and can get tense also. The humor is pretty funny, and the characters are still likable, even the new characters except for the main villain who is the most weak part of the film. It's not like the performance isn't bad as Michael Nyquist did a decent job, but he was barely in it and I don't know anything about him other then he's a bad guy, which I find really lazy. Mission Impossible: Ghost Protocol is what it is, an enjoyable popcorn and agent movie that still brings a lot of energy and creative things to the table which is very unlikely to see for a fourth movie.

Annie C (nl) wrote: "?? 1/2 (R)"'?? 1/2""It's so sad and yet so beautiful. Made me cry so hard that I did not have time for popcorn. If only you met the right person in the right time.. who is willing to be there and stay in your life.

Hollywood H (nl) wrote: Chris Evans is terrible and captain America is a loser

Ryan S (ca) wrote: 2/5. It has some fun moments and I appreciate what it's trying to do, but it could have been much better.

Katie O (us) wrote: Such an incredible film

Jonathan P (mx) wrote: Crime 101 is an independent film from New Zealand made on the cheap and even cutting cost Crime 101 is able to deliver suspense and tension by the bundle. Though the acting is a bit amateurish it in no way takes away from the tight writing and intense direction by Robert Sarkies. Crime 101 is one of those films that no one has ever heard of but can be a great hit when shown to the right audience.

nipp s (mx) wrote: This is my go to chick flick, you know, show bitches I got a sensitive side! This movie is the epitome of cool man. It's a love story disguised as an action flick. I don't think there's a single person in this movie that isn't Hollywood royalty, even one of Christopher Walkens henchmen was Tony fuckin Soprano. That and Brad Pitts character was played by James Franco in Pineapple Express... Soooo what is a Drexl?

David H (jp) wrote: Not as good as the first Part but still funny

Blake P (mx) wrote: "Chinatown" wouldn't ever just be an exercise in modern film noir. It was the film that cemented Roman Polanski's status as one of cinema's greatest living filmmakers, the film that propelled Jack Nicholson to the status of a bona fide star, the film that reminded the nation why Faye Dunaway was always destined to be more than Bonnie Parker, more than Vicki Anderson. It was the film that went for the subversive when most of its kind safely turned to the arms of the homage; it was the film that stripped sexy romanticism away from the noir genre and ensured us that the detectives of Raymond Chandler and Dashiell Hammett's best works had it much better than their real-life counterparts. There has, perhaps, never been a time during which "Chinatown" hasn't been gazed upon as being among the finest films ever made. Upon release, it grossed almost five times more than its budget, was nominated for eleven Academy Awards, and was instantaneously deemed a classic of a genre most had previously thought to be dead. It's a manifestation of what we consider to be a great film, marked by uncompromising, detailed direction, note-perfect performances, and a screenplay that, by the standards of the most serious of film circles, is one of the best ever written. We don't just watch "Chinatown"; we grab onto it with our beings, hypnotized by its storytelling, its visual opulence, its unforgettable cynicism. For a little over two-hours, we are lifted from our theater seats and transported to 1930s Los Angeles, where illicit encounters are a thing of the everyday and where one's character has to toughen to survive. We cannot look for more when going to the movies; "Chinatown" is intoxicating in ways few films are. We can smell cigarette smoke as it dangles in the air, the liquor on the breath of its focal private detective, the European perfume that licks the aura of its bewitching femme fatale. Excitement runs as thoroughly through our veins as cryptic dread does; in a world as cruel as "Chinatown's" Los Angeles is, an expectation of eventual euphoria seems as close as it does far. It's a mystery of a mystery movie - it's as familiar as it is foreign, a film noir we at first believe to be like all the others until we're gobsmacked with the realization that no noir has ever gone quite as far in its prevailing pessimism. It traps us in its web of conspiracy, never to be released. Formidable, too, is the way it avoids the easy use of the noir stock character, a downfall for most contemporary films trying to be "Kiss Me Deadly." Some of "Chinatown's" biggest successes revolve around the conception of its characters, which fill the roles of "types" we've come to know before (the sardonic private dick, the secretive femme he calls sidekick and lover, the ruthless villain easily able to hide his true evil) but do more than just stew in old characterizations and let the writing, the attitude, do the talking for them. Its cast gives performances, with Robert Towne providing them with roles of distinguished depth. Take, for instance, its hero, J.J. "Jake" Gittes, who is of the Phillip Marlowe type but sidesteps rose-colored bitterness for forlorn optimism. He is a private detective that smokes too much, who drinks too much, and who cares too much; take off his layers of put-upon snakeskin and you'll discover that he's kind, obsessed with the idea of making right. Usually, he specializes in adultery cases, able to jump back and forth in-between them without emotion. But in "Chinatown," he is presented with a case that just might change his perception of the world he's come to know, and might leave him wounded instead of merely jaded. Played by a scorching Nicholson (a risky but soundly advantageous casting choice), he's the first PI we've met in the movies that doesn't make dwelling in unremitting danger seem cool. Peril is authentic, and Gittes doesn't always retain placidity a la Sam Spade - fear is a reality he'd like to escape. In the film, Gittes is forced to take a break from his standard assemblage of adultery cases after he becomes involved in an all-encompassing conspiracy that works as an embodiment of the corrupt nature of the California government of the 1930s. The investigation is prompted by the murder of Hollis Mulwray (Darrell Zwerling), the reigning chief of the Department of Water and Power. As the man was the subject of a former case (an imposter posed as his wife to attain pictures of Mulrway with a younger woman), Gittes cannot help but be drawn in, especially when suspicions are aroused that some corrupt happenings are occurring within the underbellies of the department. In his process of probing and exploring the sea of enigmas before him, Gittes hardly goes unnoticed by Mulwray's many enemies - he's beaten to a pulp on more than one occasion, almost losing his nose in one of the scuffles - and he hardly goes unnoticed by those closest to him, particularly the man's wife (Dunaway), who is collected and beautiful but also knows much more than she lets on. "Chinatown" has the fatalistic personality of "The Big Sleep" but lacks the incomprehensibility. With a tight handling of its central mystery, it, unlike many detective noir movies, is just as much about plot as it is about atmosphere and character. It could have been released sometime in the late 1930s, early 1940s, but then again, could such a disillusioned piece make it past the hit seeking heads of studio executives? With its callous ending, which is both devastating and integral to its overall impression, I hardly think so. It is very much a work of the 1970s, a decade I consider to be the best in cinema (it's an explosion of all the masterworks prohibited by the Hays Code in previous years), but it simultaneously doesn't seem to belong to any decade, any category, choosing the 1930s as its setting yet remaining timeless in its nihilism. You can see the care that went into its making; look at the way Towne so comprehensively elicits a forgotten era through the film's dialogue and historical foundation, the way Polanski exhaustively captures every bit of period detail possible. Especially prestigious are Nicholson and Dunaway, two of the greatest performers of their peer group and certainly the best matched to the type of material presented. With his self-confident drawl and smarmy swagger, we expect Nicholson's Jake Gittes to be a private eye even more confident than Mike Hammer. But his poise is only a masquerade for doubt, and Nicholson evokes that impossible bridging of outside discernment and sense of self with a subtlety one normally doesn't associate the actor with. And Dunaway, who battled with Polanski on set, is as pensively unblemished. With her milky white skin, penciled-in eyebrows, seductive way of speaking, and immediate glamour, she is a femme fatale of the highest caliber until the film betrays her and reveals her to be a victim of life, not a dame out to cause trouble. It's the deflection of the character types Nicholson and Dunaway undergo that makes "Chinatown" all the more arresting of a movie - the turmoil they face is sweepingly real underneath the pristine sheen of period influence, and our empathy, and interest, seldom ceases. But the best thing about "Chinatown" is how it can both work as grand entertainment and serious cinema. It bridges that gap between artistic intrigue and public accessibility, and that's how a film should be, easy to be appreciated, to admire. It's unparalleled and unyielding - that's how it goes in Chinatown, anyway.

Wes S (ca) wrote: Dumb and slow, Lee's performance doesn't help the film out much, but at least it gives it some recognition. The effects are cheap, the characters are not interesting, and the title pretty much gives away the ending. Still, it has some neat sci-fi elements in it and fools you into thinking it would be watchable in the first few minutes. Alas, it turns out to be another trash heap.

Matt H (kr) wrote: An international murder conspiracy over...sable coats. Thrilling. Weird seeing the Emperor in another role; I wonder if he felt UNLIMITED POWER in reconstructing those heads.

Jovan K (nl) wrote: Maybe not good as the original ,but it is a decent sequel