JoeKarlosi Commonplace Western has James Coburn as a half-breed outlaw escaping from a chain gang and setting out for torturous revenge on retired sheriff Charlton Heston, who also was responsible for the death of Coburn's wife. Heston is ready to confront him, so the criminal kidnaps Chuck's daughter (Barbara Hershey) to outsmart him. The two tough guy actors are pretty good, and there is an attempt to make the action live up to its "R" rating with some bloody shots and a rape sequence, but what used to be violent in 1976 is not as strong today and the overall results are pretty standard. Jerry Goldsmith's score is spirited. Also features young Michael Parks as the current new sheriff. **1/2 out of ****

Robert J. Maxwell Charles Coburn and half a dozen other prisoners escape from jail. They're pretty dangerous hombres. The call goes out for the retired territorial law officer Charlton Heston to strap on his guns again, though he's out of practice. The last time he rode a horse was years ago. This is the early 1900s. Teddy Roosevelt is president. There are railroads, telegraph, telephones, autoMObiles, and television sets. Well, not that, but everything has been modernized in the West except Heston and Coburn, sworn enemies of each other in the old-fashioned way.Coburn is a smart bandido. Instead of immediately trying to rob the nearest gold, he kidnaps Heston's daughter, Barbara Hershey, and the gang ride off with her. Coburn realizes that Heston and the posse will be forced to follow them. He plots an ambush.Does all of this sound familiar? It ought to. It's one of those "end-of-the-trail" Westerns that were popular during the 70s. Sam Pekinpah's "The Wild Bunch" was about the end of the old West. So was "Butch Cassidy and the Sundance Kid." Both were monumental hits, and a number of similar Westerns, "The Shootist", for instance, did well too.Andrew V. McLaglen was an acolyte under John Ford, but Ford's humanity and sentiment were becoming antiquated. The Western -- hell, the world itself -- was becoming cynical and brutalized, as Pekinpah's work demonstrated. McLaglen's heart here is with Ford but the time called for a new and bloodier approach. As a director, McLaglen was never a genius, always a stalwart, but here he seems, like Buridan's ass, to have starved between two haystacks.I didn't find it anything more than routine. Even the violence was routine by this time.

lost-in-limbo Typically violent and brutal, but rather plodding western that has shades of film-maker Sam Peckinpah streaming through it. Coming in towards the back-end of a dying genre, "The Last Hard Man" sees the traditional American Wild West making way for modern times involving steam trains, telephones, cars and telegrams. However amongst these changes are two, very dogged nemesis coming to blows, but they do things the way they know best and rarely embrace the changes to help in some shape. Its old-fashion horse-back tracking is simplistic, where it's all about the primal instinct for revenge. Now it's personal. Vendettas loom. A cat and mouse game is started, where the two never back down for each other. They battle it out, knowing each others moves. But the actions which are perceived are surprisingly twisted in a way to gain some sort of upper hand.Charlton Heston plays an aging, but retired sheriff Sam Burgade who suddenly gets back in the saddle after the man he put away a decade ago Zach Provo (James Coburn) escapes. Burgade knows he would be a target, as Provo blames him for his Navajo woman's death. So Burgade puts himself out there, but Provo surprises him by kidnapping his daughter.It's probably not as exciting as it could have been where the set-pieces just causally morph and the operatic dramas only blister. Well that's until it reaches its rough, but very intense and unpleasant climax between the two men. It's quite a memorable, if barbaric standoff mainly due to Coburn's character's delusional state of mind. Coburn simply commands the screen, even when he isn't igniting it and he just nails down the part as the half-breed who becomes so obsessed in seeing Burgade squirm. While Heston is more in checked with a professionally sturdy turn. The support cast are just as good with the likes of Chris Mitchum, Larry Wilcox, Barbara Hershey and Michael Parks.Director Andrew V. McLaglen's handling is tough and gritty, while slow grinding it did bestow some flashy moments of slow-motion to heighten the emotional effect of certain situations. However in the end those moments just felt more pointless and the visuals really do centre of the repugnant side. It's hard-headed in a weary manner, but it remains efficient. Jerry Goldsmith's palatable music score is serviceable, if nothing more.

MARIO GAUCI This one came out during the Western genre’s last gasp; unfortunately, it emerges to be a very minor and altogether unsatisfactory effort – even if made by and with veterans in the field! To begin with, the plot offers nothing remotely new: James Coburn escapes from a chain gang, intent on killing the man (now retired) who put him there – Charlton Heston. While the latter lays a trap for him, Coburn outwits Heston by kidnapping his daughter (Barbara Hershey). Naturally, the former lawman – accompanied by Hershey’s greenhorn fiancé (Chris Mitchum) – sets out in pursuit of Coburn and his followers, all of whom broke jail along with him.Rather than handling the proceedings in his customary sub-Fordian style, McLaglen goes for a Sam Peckinpah approach – with which he’s never fully at ease: repellent characters, plenty of violence, and the sexual tension generated by Hershey’s presence among Coburn’s lusty bunch. Incidentally, Heston and Coburn had previously appeared together in a Sam Peckinpah Western – the troubled MAJOR DUNDEE (1965; I really need to pick up the restored edition of this one on DVD, though I recently taped the theatrical version in pan-and-scan format off TCM UK). Anyway, the film is too generic to yield the elegiac mood it clearly strives for (suggested also by the title): then again, both stars had already paid a fitting valediction to this most American of genres – WILL PENNY (1968) for Heston and Coburn with PAT GARRETT & BILLY THE KID (1973)! At least, though, Heston maintains a modicum of dignity here – his ageing character attempting to stay ahead of half-breed Coburn by anticipating what his next move will be; the latter, however, tackles an uncommonly brutish role and only really comes into his own at the climax (relishing his moment of vengeance by sadistically forcing Heston to witness his associates’ gang-rape of Hershey). Apart from the latter, this lengthy sequence sees Heston try to fool Coburn with a trick borrowed from his own EL CID (1961), the villainous gang is then trapped inside a bushfire ignited by the practiced Heston and the violent death of the two ‘obsolete’ protagonists (as was his fashion, Heston’s demise takes the form of a gratuitous sacrifice!).The supporting cast includes Michael Parks as the ineffectual town sheriff, Jorge Rivero as Coburn’s Mexican lieutenant, and Larry Wilcox – of the TV series CHiPs! – as the youngest member of Coburn’s gang who’s assigned the task of watching over Hershey (while doing his best to keep his drooling mates away!). Jerry Goldsmith contributes a flavorful but, at the same time, unremarkable score.