Self-important, over-dramatic, uninspired.

A Major Disappointment

Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

The best films of this genre always show a path and provide a takeaway for being a better person.

Definitive Cult Film. It languished in Obscurity for Years. The Film never received a Theatrical Release Until 1971. It was a Low-Budget ($75,000) Movie with the help of an Uncredited Roger Corman.All four Actors give believable, Edgy Performances with Warren Oates, Jack Nicholson, Will Hutchins, and Millie Perkins delivering Dialog that smacks of Western Slang along with Gritty Insight and Existential Exuberance.Nothing on the surface is Clear and the Dusty Terrain adds to the Obscurity. In Fact, the Location settings are Stunning in the Sun Bleached Bleakness. Because of its Miniscule Budget and apart from any Studio Interference the Filmmakers were able to Experiment with an Odd and Against the Grain Western Template.It is a Thinking Man's Horse Opera with the four footed Creatures playing a Significant and Symbolic Part. The Movie's parts seem to Come Together in an Off-Kilter sort of Existence where Nothing is Certain and everything Unfolds at a Pace fitting its Stifling Surroundings.Overall, the Ending is one of those that is Ambiguous at First glance, but more Contemplative Viewers will Definitely have Diversified Opinions. Considering what was there to work with it remains an Artsy, Offbeat, and certainly Divisive Western. But the Talent Behind and In Front of the Camera is such that it Cannot be Overlooked or Ignored.

Willett Gashade (the late, great Warren Oates) and Coley Boyard (Will Hutchins) are two cowboy associates, hired by a mysterious young woman (Millie Perkins) who refuses to give her name. The assignment, ostensibly, is to travel with her to a faraway town, but she's clearly got an agenda that bemuses them. The stakes get raised when a newcomer joins them on the journey: a hired gun named Billy Spear (Jack Nicholson), who similarly chooses to be rather cagey.Under appreciated filmmaker Monte Hellman is just one of many who began his career working for the legendary Roger Corman. With Corman as the (uncredited) executive producer, and Nicholson and Hellman as producers, this was filmed simultaneously with another indie Western, "Ride in the Whirlwind", but released separately. It's a very spare film, with a minimum of major roles, and it's one that takes full advantage of some strikingly desolate locations.Carole Eastmans' screenplay takes great care not to spell everything out for the viewer, although by the end it's not too hard to connect all the dots. The result is an intelligent, meticulously made film with a very enigmatic, and atmospheric, quality about it. Performances are superb from the star quartet. Oates has a quietly powerful presence. Hutchins is very animated and engaging. Some fans of the film don't care for Perkins, but this viewer feels that it's actually a testament to her ability since her character is clearly not trying to be likable; he can see that she's bearing some sort of grudge. And the young Nicholson, still a few years away from achieving genuine stardom, shows off that charisma that always served him so well. The ending, a slow motion shoot out among some rocks, is very stylishly done.This is very much essential viewing for fans of the cast and director.Eight out of 10.

Willet Gashade (Warren Oates), a former bounty hunter, returns to his small mining camp after a lengthy absence and finds his slow-witted friend Coley (Will Hutchins) in a state of fear. Coley explains to Gashade that their partner, Leland Drum (B. J. Merholz), had been shot to death two days before by an unseen assassin. Also starring a young Jack Nicholson.In 1964, Monte Hellman and Jack Nicholson had made two films together, "Back Door to Hell" and "Flight to Fury", which were produced by Roger Corman and filmed back-to-back in the Philippines. This film was very much in the same vein, this time shot back-to-back with "Ride in the Whirlwind". Nicholson's history with Corman is well-known, but Hellman's career also came from Corman. His first directing gig was "Beast from Haunted Cave" (1959), a Corman film, which was followed up with an uncredited stint on "The Terror" (with Nicholson). In fact, Hellman did not really blossom outside Corman's domain until "Two-Lane Blacktop" (1971).The film was written by first-time screenwriter Carole Eastman, who would soon write "Five Easy Pieces", another Jack Nicholson vehicle (and much later the Nicholson film "Man Trouble"). As with many involved, she was a Corman veteran, having been responsible for the music in Corman's "Creature from the Haunted Sea" (1961).It was not until 1968 that the U.S. distribution rights were purchased by the Walter Reade Organization, the same company that distributed "Night of the Living Dead" (1968). No other domestic distributor had expressed any interest in the films. Walter Reade decided to bypass a theatrical release, and the two titles were sold directly to television. In retrospect, it seems bizarre that this film fell into obscurity, but who could have predicted Nicholson's rise to stardom?

It is difficult to tell if the movie provokes so many questions deliberately or if Roger Corman simply tore a bunch of pages out of the script to save money leaving the editors the job of turning it into something? Millie Perkins is over the top and ridiculous as the mystery woman, shrill and abusive at every turn. Nicholson is likewise over-the-top, mean and threatening far beyond what the scene calls for. This is an early role for him to be sure but compared to the composure Oates has on screen he looks like an amateur. I will give Jack credit for being quick on the draw. Even if Monte snipped a couple of frames to make it look faster you can tell he really worked on it. This film suffers from the same hatchet editing that so many 70's films have. It is a pity that the Great Warren Oates died so young. He gives a terrific performance, natural and believable. A lot has been said by reviewers and even by Monte himself about the film recalling some of the National feeling about the political assassinations of the 60's. I just don't think this film has all that on its mind.