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Jesse James' Women

Jesse James leaves Missouri for Mississippi, and immediately charms all the women in Mississippi out of their bloomers and garters. His first conquest is the banker's daughter who helps him loot the bank in exchange for a promise of marriage; he wanders over to the saloon and runs the crooked partner of the proprietress out of town, takes all of his-and-her money and leaves her, between kisses, hounding him for her share; the third one, the saloon singer, actually makes a mark out of him as she cons him into a boxing match against a professional fighter and he loses the fight and his money, but he holds the singer and the fighter up as they leave town and gets his money back; and then he romances and swindles Cattle Kate, a replay of what he had done somewhere before to Kate.

Jesse James' Women

4.5 1954
The Crimson Challenge

In the cattle town of Lost Valley, Buck Courtrey, saloon owner and political boss, covets Tharon, daughter of Jim Last, a small rancher; and when rebuffed, he has Last killed. Tharon swears revenge with her father's own guns and organizes a vigilante band to check Courtrey's activities. Learning that she loves Billy, a cowpuncher, Courtrey kidnaps and threatens to kill him unless Tharon agrees to marry Courtrey following his divorce from Ellen. Courtrey's wife informs Tharon of Billy's whereabouts, and she rescues him in time to join the townspeople attacking Courtrey's gang. Courtrey is pursued by Tharon, who kills him and returns to become Billy's wife.

The Crimson Challenge

6.5 1922
A Yellow Streak

Wall street broker Barry Dale is systematically ruined financially by his alleged best friend Richard Marvin . This Marvin does so that he can win Dale's wife Virginia away from the discredited broker. Dispirited and disillusioned, Dale heads to the West for a fresh start in life. Unfortunately, he soon develops the reputation as a coward, but he manages to dispel this by becoming a notorious outlaw, reasoning that highway robbery is not all that different from Wall Street chicanery.

A Yellow Streak

NR 1915
Wedding Thrashers

When dashing outlaw Brett Harris (Nick Olson) and dimwitted sheriff Frank Hopperkin (Jalen Jensen) learn their siblings are getting engaged, the two mortal enemies resolve to put aside their differences and work together to stop the wedding. Thrills, laughs, and tears abound in this genre defining Northwestern from WRALKAT studios, and the cesspool of comedic genius that is the collective minds of writers Nick Olson and Ryan Garner. Featuring a mind blowing soundtrack by Luke Frugia and Kenna Phillips.

Wedding Thrashers

5.5 2022
Balanar

Shot on 16mm in one of the most remote regions of Tara Mountain, 1,050 meters above sea level, Balanar was a two-year odyssey marked by multiple production halts. Driven by an insanely devoted crew—composed of some of the finest film professionals working in Serbia today—the film also features a haunting score by legendary German composer Hermann Kopp (Nekromantik). Inspired by Żuławski, Carpenter, and Milius, Balanar is a love letter to American midnight cinema and Balkan mythology. It blends heavy metal, pop culture, and folk tradition—but at its core, it is an existential horror.

Balanar

NR 2025
The Outlaw's Daughter

Led astray by outlaw leader Jess, the "outlaw's daughter" Kate joins Jess' gang and follows in her dad's footsteps. Town marshal Dan tries his best to reform the girl, but this proves difficult inasmuch as Kate holds Dan responsible for her father's death. Only after most of the bad guys have been decimated by Dan does Kate discover the true identity of her dad's murderer. Having fallen in love with Kate, marshal Dan offers to let her escape prosecution, but she's made of sterner stuff than that.

The Outlaw's Daughter

8.0 1954
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