A film of mementos, of deliberately pale shadows
Rio Lobo (1970)
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Reviews Counted:18
Fresh:13
Rotten:5
Average Rating:6/10
Synopsis: Howard Hawks's final film once again teams him with John Wayne, with a script by Leigh Brackett (who also wrote his EL DORADO and RIO BRAVO). The time is just after the end of the Civil War. Wayne... Howard Hawks's final film once again teams him with John Wayne, with a script by Leigh Brackett (who also wrote his EL DORADO and RIO BRAVO). The time is just after the end of the Civil War. Wayne is Union Colonel Cord McNally, who is teamed with two Confederate soldiers he captured during the war in order to take down a thieving bootlegger. Their travels take them to a small town being held in terror by an evil Sheriff. McNally and his crew decide to help the townspeople with their own brand of justice. With a considerable amount of humor and Hawks's reliable formula in which a motley band of men unite for a common cause, RIO LOBO is a fitting conclusion to both his western trilogy and a distinguished career. [More]
Starring: John Wayne, Jennifer O'Neill, Jorge Rivero, Jack Elam
Starring: John Wayne, Jennifer O'Neill, Jorge Rivero, Jack Elam, Victor French, Susana Dosamantes, Christopher Mitchum, Mike Henry
Director: Howard Hawks
Director: Howard Hawks
Screenwriter: Burton Wohl, Leigh Brackett
Composer: Jerry Goldsmith
Producer: Howard Hawks
Reviews for Rio Lobo
For such a refined director as Hawks to end his career on a note like this, having made some of the finest films in the history of American cinema, is an atrocity not worth the silver used in the negative.
Hawks last Western is his weakest collaboration with Wayne, but the film offers an occasion to see the aging Duke trying to rise above the routine plot and amateurish ensemble, including Sherry Lansing who would become a powerful Hollywood studio exec.
If it lacks the formal perfection of Rio Bravo and the moving elegy for men grown old of El Dorado, it's still a marvellous film.
John Wayne is great to watch, and the train holdup sequence that leads the film is genuinely exciting.
In this case, the story itself doesn't matter much. We go to a classic John Wayne Western not to see anything new, but to see the old done again, done well.
The fact that its best action sequence, the first, was directed by the second unit is emblematic of Hawks's relative lack of engagement with the material.
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