darbski **SPOILERS** All the critical acclaim and other opinions, okay. I'm just gonna add my two cents because I think this is one terrific little western. It isn't all hazed up with dark, political motives, just good guys and bad guys. Let me get something off my chest, here. The OTHER movie of the same name? THAT'S the stupid one, as a matter of fact, I'm surprised that they didn't have the transformers (or maybe Batman), doing battle right along with all the other super gunfighters.In THIS H.B.O. movie, the story is a lot more down to earth. Given that ALL westerns are fantasy, and are for entertainment I think that we have to look at just a couple items. The actors- you have to be able to find an identity for each one of them; Done, and Done. The scenery, is it sufficiently "western"? Yup, (more on this later). Dialogue? A small problem; too late twentieth century in places. Story? Good. Direction, Pretty darn good.Just a couple of points... These things are prevalent in almost all westerns, and it's a P.O. Why, oh why, did Valion leave Dobbs' gunbelt, horse and gear? It's is his by right of booty. Plus, you DO NOT leave a horse saddled and tied up. If you're not gonna take it, unload it and set it free. You won't be doing it any favors, though; it's a domesticated animal, and needs to be taken care of. Same thing for Ute's pony and gear.Another reviewer mentioned the fact that the relationship between Valion and the Ute (both are half-breeds) should have been explored. I agree. It would have taken a minute of dialogue or less to explain the fact that They were half-brothers, don't you think? Possibility - calling The Ute by name right before he killed him. Another "He led a raid on a Blackfoot village, killed a lot of women and children; including our mother". Oh, well...How about this relevant issue? there is an outbuilding in Bender's Flats, so it MIGHT have been an outhouse, and once they left the area, they were doing their business in mother nature, but, Susannah's brother not putting up a privy? Inhuman.Back to the scenery. When I first saw this movie on H.B.O., I was struck by how beautiful the surroundings were in Cinematography. I've owned a couple copies of this movie in VHS and DVD, and in High Def, it is striking to say the least. One of my favorite Westerns, and I recommend it for all who want an uncomplicated story that's entertaining and very well done on all points.

Robert J. Maxwell Impressive location shooting in northern Arizona helps this rather worn plot along, and so does the acting.Tom Conti, ex teacher and ex Civil War sergeant, his wife Kate Capshaw, and their little boy Kenny Morrison, pull up stakes back east and head out West where a man and his family can escape the violence of the Civil War and breathe the fresh, clean, anarchic air.They offend one of those crusty, villainous families that are so often offended in these Westerns -- "Shane," "Will Penny," the Clantons -- and Conti and family are pursued by these revenge-driven miscreants over snowy hill and grassy dale.Well, I'll tell you. They don't know nothing' about survival in the West. Their hides are saved only by the appearance of Sam Elliott in buckskin and leather, toting a repeating rifle and various other gear. Elliott guides them through the wilderness towards the rude log cabin, miles away, that they will some day call home. But, of course, not if the evil family has anything to say about it.Time and again, the pursuers and the pursued wound one another but each carries on, leaving a trail of blood. The pursuers actually are winnowed down. One by one, they are plugged, except for the youngest, who sensibly decides to hell with it and rides off alone towards home. The rest of the pursuers don't fare so well.The plot line really is hoary. A pioneer family are unprepared for the violence they encounter and are saved by a romantic, sun-tanned stranger. The family's wife is attracted towards the mysterious savior and vice versa. "Mrs. McKaskel, if you wasn't married I'd of chased you till you dropped," says Sam Elliott, by way of declaring his deep affection for her. Mrs. McKaskel's pretty pale-blue eyes glow with pleasure.The acting is professional enough. Nobody can complain. Sam Elliott is his usual laconic, masculine self. He has a habit of holding conversations while facing at a right angle to the other, which gives him an opportunity to stare over his shoulder at the person he's addressing. Poor Tom Conti is saddled with a face that's about as interesting as a bowl of porridge, a kind of fleshier Dustin Hoffman, and his voice sounds like he suffers from an adenoid condition. He handles the role very well but those attributes knee-cap his performance.Kate Capshaw is quite a fox when you get right down to it but she's usually cast as a properly brought up, middle-class figure, as she is here. Only one film, whose title I can't remember, gave her an opportunity to show a slinkier and sexier side. I was genuinely worried about the family's son. He's about ten or eleven years old. I quailed at the thought of another cuddly kid saying cute things, but this kid can act. It could have been awful. He might have had disabling asthma attacks under stress or something. I shudder at the thought. That I never wanted to stomp him like an insect is a tribute to his talent.I enjoyed the message though. I thought it was carefully considered, thoughtful, and humane. Only Wussies swear off violence. Real men kill.

Wuchak RELEASED IN 1987 and directed by Robert Day, "The Quick and the Dead" is a made-for-HBO Western starring Sam Elliott as Con Vallian, a mysterious stranger who helps a family heading West with their conflict with a group of ne'er-do-wells. Vallian's desire is piqued by the wife (Kate Capshaw) and the interest seems mutual. Will the family make it to the Bighorn Mountains alive-and-well or will violence and adultery destroy them? If you don't remember Kate Capshaw, she was the blond in 1984's "Indiana Jones and the Temple of Doom" and later married director Steven Spielberg.In any event, I was impressed with this little-known Western. Although made for cable, it's based on a Louis L'Armour book and is actually better than some theatrically released Westerns. There are some flaws, like the kid's questionable acting skills and the fact that the film was noticeably shot in Northern Arizona rather than Eastern Wyoming, but -- all things considered -- this is a solid realistic Western in the tradition of "Shane" and "Will Penny." Don't expect the mythic spaghetti tone of 1995's big-budget Western of the same name. Highlights include the breathtaking cinematography, a believable and mature tone, Kate's beauty, a hackneyed plot redeemed by quality characters (like Tom Conti as the settler husband/father), insightful drama & plot surprises and, of course, Sam Elliott as the quintessential Westerner. Really, Elliott is as good or – more likely – better than any Western icon you care to name (Wayne, Eastwood, Cooper, Scott, Stewart, Costner, etc.).There are mature and insightful themes, like the undeniable connection of Vallian and Susanna. Most of us can relate: You stumble across someone of the opposite sex and instinctively sense a palpable connection, some kind of profound mutual fascination, yet—for whatever reason—pursuing an intimate relationship is not an option. In an entire lifetime you will only experience a handful such 'connections,' or less. These exchanges are permanent because they are so potent they are forever burned into one's psyche."The Quick and the Dead" may not be a top-notch Western like "Dances With Wolves" or "The Outlaw Josey Wales," but it's certainly a quality Western and well worth your time.THE MOVIE RUNS 91 minutes.GRADE: B

Woodyanders 1876, Wyoming. Niave newly arrived settlers Duncan (well played by Tom Conti) and Susanna McKaskel (a fine performance by Kate Capshaw, who looks positively ravishing) require the assistance of rugged frontiersman Con Vallian (a superb and convincing performance by Sam Elliott) in order to protect them from a group of outlaws led by the weaselly Doc Shabitt (veteran character actor Matt Clark in top slimy form). Director Robert Day, working from a smart and engrossing script by James Lee Barrett, relates the absorbing story at a steady pace, presents a flavorsome, yet unsentimental evocation of the old west, and stages the gunfights in a realistic and exciting manner. Con makes for a strong and interesting flawed hero who isn't entirely noble; he has lustful feelings for Susanna and keeps embarrassing Duncan every chance he gets. Moreover, the bad guys are a memorably scurvy lot, with especially memorable turns by Patrick Kilpatrick as fearsome half-breed tracker The Ute and Jerry Potter as the foul and lecherous Red Hayle. Kenny Morrison registers nicely as Duncan's loyal son Tom. Dick Bush's polished cinematography makes elegant occasional use of fades and dissolves. Steven Dorff's harmonic score does the tuneful trick. A worthwhile sagebrush saga.