hyped garbage

A Disappointing Continuation

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies

The fact that this "tuchia" gets 6 stars on the IMDb scale and Two Lane Blacktop rates only 7.2 is proof how meaningless these aggregate scores are. I do sometimes wonder how much is lost in the pan-and-scan releases that these B movies get but I don't think anything could raise this film above bad and pretentious. Whether this is the fault of the producers or the director is usually a tale untold. My guess is that the producers wanted Agutter naked for half the film (bad) and that Hellman thought it would be cool to have Peckinpah mumble a few lines (pretentious). One interesting note is that this is the only screen credit for Jerry Harvey, the ill-fated programming genius behind Z channel in LA during the 1980's.

A lot of misinformation in some of the other reviews. The character who began to make the, "As long as I've got a face," remark--which was never finished-- was the the younger brother of Oates' character. The last name of Fabio Testi's character, who was nothing but respectful in his comments to Jenny Agutter's Catherine, was Drumm, not Jones. I do agree the score was not good, and I suspect Hellman had little control over that. He wasn't in a position of power after the brilliant "Two Lane Blacktop" flopped. It was coal, not oil, that Matthew (Oates) was counting on to make him rich. And Drumm did not "constantly drink cocaine laced whiskey." He had one bottle of it given to him by the owner of the circus. If I recall this was before the second lovemaking scene in the hotel, and cocaine, for those who don't know, makes one very amorous. I think it was meant as a joke. All that said, I have to agree this not a great Hellman film, and his approach was probably too contemplative for most fans of spaghetti Westerns. Even though the final shootout is more typical of the genre. I love the chief bad guy saying. "This didn't go so well," just before he attempts to surrender and Oates shoots him. It's a measure of Oates' skill as an actor that he manages to gain our sympathy for Matthew, even after admitting having killed a whole family, "right down to the dogs, the cats, and the chickens," for the railroad. I was surprised by Katherine's decision to stay with Matthew (though she really had little choice), and that final scene must have looked amazing in the original Technovision 235:1 frame. I think it symbolized that Oates was finally cutting his ties with his past completely. I think he was sincere when he told Catherine, "No one will hurt you again," meaning he wouldn't. Fabio Testi's accent was thick, but I give Hellman credit for not dubbing him, and for adding a back story about Drumm coming to the USA after his grandparents' death to explain it.And, yes, I think the West was full of people with nearly indecipherable accents. I've lived in the West for near to 20 years, and still can't understand some of the old timers.

This 1978 Italian-Spanish Western was directed by the enigmatic American Monte Hellman, who has made few features during his 50-year career. Its recent airing on the Western Channel confirmed its cult status, as it stars Warren Oates, that fine underrated actor frequently used by Hellman, this being their final collaboration before Oates' untimely death at age 53 in 1982. Not having seen it since the early 1980s, and perusing the other 11 reviews on IMDb, I can attest that this is the full, uncut 102 minute version, with all the nudity and some of the most frank, shocking lines you're likely to hear in a Western. The other comments gripe about the poor quality of all available prints, and the accent of leading man Fabio Testi. I have two major complaints myself, in that the film seems much longer due to its meandering script, but what is unforgivable is that the soundtrack, from the footsteps to the chickens, even the music, simply drowns out much of the dialogue. The photography is excellent, the acting is good, and Hellman works wonders with his material, I just couldn't recommend it to anyone hard of hearing. The frustration is eased by Warren Oates, who manages to gain sympathy as the wronged husband, and the lovely Jenny Agutter, who supplies the film's bold nude scenes as the supposedly shy wife who becomes a whore. As the gunman who falls in love, Fabio Testi's accent makes his line readings a real chore to decipher, while small cameos are provided by Sidney Lassick and Sam Peckinpah, the latter playing a wealthy author manufacturing tales of the Old West. There is also an extremely brief appearance by European cult beauty Helga Line as a hotel proprietor. The 15-year heyday of the Spaghetti Western (1964-1979) was nearing its end, and this frank and occasionally bloody example continues to wallow in obscurity, but isn't that a typical fate for any movie directed by Monte Hellman? My favorite Hellman feature remains his first, "Beast from Haunted Cave," a 1959 collaboration with Gene and Roger Corman.

I saw this at the 1978 Telluride Film Festival with Monte Hellman in attendance. We were a bit worse for chemicals at that time, but the film made an indelible impression on my pals and me. To this day we still talk about it and quote some of the most outrageous lines put into a film up until that time.Since then I've been trying to find the version I saw, but have only encountered pablum-style crap with all the good stuff edited out and horrific washed-out video transfers.So I need to ask, are my memories of these lines from the film accurate or did whatever was in me at the time make them up? Testi to Agutter: "As long as I have a face, you'll have a place to sit." And, Warren Oates to the world in general: "If they didn't have c*nts there'd be a bounty on them." A great, OTT film for its time. Where is Monte Hellman when we need him?