Best movie ever!

A movie that not only functions as a solid scarefest but a razor-sharp satire.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

This is the type of western that you can rewatch several times and find something new --not only is the cast of the chart, but the acting, the dialogue, the humor, the good writing makes it an outstanding movie.

I really enjoyed this movie. I didn't really know what it was about and glad I ended up watching it. I can see rewatching this in the future. It had everything a good Western should. Kind of reminded me a little of Tombstone but more fun, even the bad guy seemed somewhat likeable.

I sometimes jokingly tell people this is the greatest Western I have ever watched. Then I wonder if I really am joking.From the opening scene where the buddies meet up to the introduction of the baddies and their actions. All seems plausible due to very good direction and writing. Yes there are clichés, but in a good way.If you like Westerns of any sort you will enjoy this movie.And now, a word about review length requirements. I added that longer middle section to fulfill the length requirement. I don't really think it adds to the review and I think shorter reviews should be allowed. After all, this last sentence would not be necessary at all.

Written and directed by Lawrence Kasdan, "Silverado" (1985) is a strange beast. On one hand, the film is an obvious homage to roughly 70 years worth of Westerns, particularly those by John Ford, Anthony Mann, Howard Hawks and Sergio Leone. On the other hand, the film is a light-hearted adventure in the vein of Steven Spielberg and George Lucas. Kasdan, of course, famously worked on Lucas and Spielberg's "Indiana Jones" and "Star Wars" franchises, franchises which were themselves postmodern "updates" of 1930s pulp fantasies.Kasdan's approach should result in something flippant and silly. Tempering this is Kasdan's screenplay, which resembles his scripts for "The Big Chill" and "Grand Canyon", both of which were fairly serious, sprawling melodramas. The result is a film which is constantly pulling in multiple directions. "Silverado" is a highbrow western, but also a lowbrow crowd-pleaser. It's a comedy, but also a drama. It's a film packed with caricatures and cartoonish archetypes, but also one which attempts to sketch a large community of "serious" characters. And so on and so on."Silverado" is at its best during its first act, where Kasdan presents the jaunty adventures of well-meaning rascals. Amongst these are Emmet (Scott Glenn), Paden (Kevin Kline), Jake (Kevin Costner) and Mal (Danny Glover). Today, Mal's tale is the most interesting. An African American cowboy who's tired of being beaten down, Glover's character offers a sanitised version of 1970s blaxploitation heroes (particularly Fred Williamson's "Boss N****r" films) and also serves as the midpoint between John Ford's "Sergeant Rutledge" and Tarantino's "Django Unchained". In 1985, you simply didn't find westerns with black heroes like this.The rest of "Silverado" is less interesting, particularly its last act, which combines typical 1980s blockbuster excess (lots of gunfights), with a familiar plot about a corrupt sheriff (Brian Dennehy). A funny performance by Kevin Costner makes the film's second half tolerable, but it's not enough. "Silverado" becomes too humourless, too loud, too serious, a stance which the film is too dumb to make work. In a way, it's the Hollywood version of Leone's "Once Upon a Time in the West", another cut-and-paste movie which, weighed down by pastiche, inexorably gets too big for its boots.7/10 – For those looking for better westerns, both high-brow and low (in that order), consider: Altman's "Sitting Bull" and "McCabe and Mrs Miller", Martin Ritt's "Hombre" and "Hud", "Ulzana's Raid", "Will Penny", "Ride with the Devil", Cox's "Walker", Benton's "Bad Company", Pontecorvo's "Burn!", "Dead Man", Siegel's "The Beguiled", "Lonely are the Brave", "Red River", "Dances with Wolves", "Viva Zapata", "Two Mules for Sister Sara", "My Darling Clementine", "The Man Who Shot Liberty Valance", Corbucci's "The Great Silence", "The Long Riders", "Wild Bill" (1995), "The Ballad of Cable Hogue", "Tombstone", "The Shootist" and Costner's "Open Range".