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The Western Code

When Tim Barrett rides into Carabinas, his reputation as a lawman precedes him. Rescuing Polly Loomis from the unwanted attentions of a saloon ruffian, he learns her mother married ranch foreman Nick Grindel shortly before her death, and left everything to him in her will. Nick has proposed marriage to his stepdaughter, and she fears violence if her hot-blooded brother Dick finds out. When a body is found at the Bow Knot, Tim barely rescues Dick from a necktie party and is deputized to investigate when Dick confesses to a crime he didn't commit.

The Western Code

9.0 1932
Texas Bad Man

Wayne Morris' B-western series was the last of its kind to be produced in Hollywood. Texas Bad Man casts Morris as a sheriff who happens to be the son of inveterate thief Frank Ferguson. Knowing full well that Ferguson's gang intends to steal a shipment of gold, Morris must stay up nights trying to second-guess his crafty dad. While there's no shortage of action, the resolution to the story relies more on brawn than brain. Western "regulars" Sheb Wooley, Myron Healey and Denver Pyle do their usual in secondary roles, as does Elaine Riley as the requisite (but hardly crucial) heroine.

Texas Bad Man

8.0 1953
The Legend of Earl Durand

The Legend Of Earl Durand was the story of a young child whose family lived near DuBois, Wyoming and made Earl live in a hut in the wild because they thought he had a contagious disease. When the local Aboriginal people discovered his plight, they took him under their wing so he grew up as a sort of wild man, completely able to live off the land. He was known as the "Robin Hood" of the West because he hunted game on Federal land which was very illegal and gave the meat to the poor.

The Legend of Earl Durand

6.5 1974
The Outlaws

In prison in colonial Algeria, shortly after the end of the Second World War, three indigenous cellmates make out. Once free, they attack the authority represented by the triad of the boss, the gendarme and the administrator. “Living the colonial condition,” confided Tewfik Farès, “is something! It’s not sociologically or historically speaking. It’s life. And I think that’s all there in it. [...] For a hundred and thirty years, we wait. We hold back. We push back. We hope. At the same time, on different occasions, there are skirmishes, unrest.

The Outlaws

8.0 1969