The story goes that in 1950 Jimmy Stewart was looking around for something a little different for himself, something where he could play a character less folksy and warm. He sure did find it in this film, as well as all the other magnificent westerns he did with gritty, noir director, Anthony Mann (T-Men, Raw Deal, Railroaded, etc). This is the first of their collaborations.

When the film was first shown to test audiences, there were titters in the crowd when Jimmy Stewart's name appeared in the credits. "Mr. Smith" in a western? Shooting people? Please. By the end of the film, the tittering was all done and Stewart had established himself as a viable western hero (although in truth the magic of these Mann/Stewart westerns is that the characters Stewart plays are hardly "heroic." They are usually driven, neurotic men, nearly shifty-eyed, with a mean streak a mile wide - bitter men, and always very, very angry and eager to kill.

The basic set-up of this film is beautifully simple: Jimmy Stewart has a prize rifle stolen from him, a Winchester Model 1973 (which at the time the film takes place was state-of-the-art in the world of firearms), and he spends the rest of the movie hunting the man that stole it.

The story unfolds, however, as the movie rolls quickly along to something much more complex, culminating in one of the finest shootouts in movie history. The two principal actors of the film, James Stewart and Stewart McNally, spent a great deal of time practicing with their rifles (in Stewart's case Mann often found him walking around the set with bleeding knuckles, the results of his hours of self-training working the classic lever-action Winchester). Their hard work paid of in a tremendous realism.

Anthony Mann brought in cinematographer, William Daniels, for Winchester '73, a veteran who most notably had worked a great deal with Garbo in the 30's. Daniels brought his tremendous sense of lighting to the table to create one of the most beautiful looking Westerns of all time. Daniels' light, combined with Mann's unmatched visual sense, made things look nearly 3-demensional in their reality. When viewing this film, watch for the staggering long shots, or the scenes near dusk or at night. Pure texture and light - at once glamorous yet real.

This film also has my favorite depiction of aging Western legend, Wyatt Earp, the Law in Dodge, played with easy authority by Will Greer. Greer always offers his suggestions to town folks with a warm smile, as when he asks Stewart to give up his gun in an early scene. There is always a bit of steel in the old gunfighter's eyes, though, and folks always do just as he suggests. Quickly.

All in all a great treat and a must-have for any fan of the Western (or for that matter, any lover of movies). A true classic all the way. --Mykal Banta

I found this book missing the mark. The choice of films is fine, but the writing is glib and the insights just manage to bump against the surface. Worse, the reviews often don't explain what makes these films essential. There is often not much more than a plot synopsis and one or two lines regarding the film's strengths. The student or fan of film would be better served with "The A List" edited by Jay Carr, which is the National Society of Film Critics' 100 essential films. Compare reviews in the two books of the same film, and I am convinced you will see what I mean.

This book is not terrible, and Joe Leydon knows his stuff, but the book seems tossed off and hurried. Pass. --Mykal Banta

One would not have to see the credits to know that this is a David Mamet movie. After one or two rhythmic, staccato exchanges of dialogue, Mamet's script writing fingerprints all but glow of the screen. When Mamet has his mojo working, his dialogue is lean and concise as haiku written in cool code (Glengarry Glen Ross, Things Change), but beware when he misses (Heist). Then it's like listening to a rejected radio play from the thirties. I was happy that he hit the mark with Spartan. There are only one are two times when his dialogue bordered on macho-embarrassing, but the movie has such tremendous forward momentum that it become part of the fun.

Briefly, the film tells the tale of a secret agent (Val Kilmer) from one of those Government organizations that have no name (do they really exist or was it just too convenient a construct for Hollywood not to invent?). The agent, who is called Scott, must retrieve the president's missing daughter. Of course, all is not what it seems.

Several things make this DVD worthy of purchase and re-watching:

First, as I have said, the movie has tremendous speed. I found myself not being bored for a single second. Every frame of film time has value, and the action scenes are expertly done and believable. It seems to have been Mamet's goal in this movie to really hammer down the film's editing and dialogue to the naked essentials. The men (and one woman) move in this film with a horrible efficiency toward a single goal. In Val Kilmer's commentary track in the special features, he said the characters reminded him of "hunting dogs," and that is a perfect analogy. Kilmer's character and his co-workers move like a one-minded pack scenting blood.

Also, the film is beautiful to look at. The camera work is very creative and manages to convey a tight, claustrophobic world of tremendous pressure. Shadows loom and stretch across the ground, up the sides of buildings, across faces. The palate is one of hard blue steel and shiny black where rich, primary colors are often reflected on polished surfaces. Everything, including the faces, captures the light of chrome.

Lastly, the performances:

I will say up front I am a Val Kilmer fan (it is a great shame that Kilmer's current reputation in Hollywood seems to require that one admit that "up front"). For whatever reason, he seems to have been struggling a bit lately. Hollywood gossip has it that he is nearly impossible to work with, and that the big boys are calling him less just to avoid his ego. Whatever. I find him watchable in nearly everything he's ever done. He has an odd poise as an actor - the ability to take his time with a line or a character, never rushing or histrionic. He has a certain control that really conveys confidence without the need for extravagance. I find this quality very unique today (is anybody else getting tired of Sean Penn, as gifted as he is, blubbering and flailing through every role?)

As a special treat, the much underused Ed O'Neil makes an appearance as "Burch," clearly the leader of these nameless men of a nameless organization. Watch O'Neil's eyes during his first scenes. This is one hunting dog whose brain has filled with the scent of the wounded. -Mykal Banta

Of the many movies that I love and own, this is one of the DVDs I would grab if the house was on fire.

My Darling Clementine is fundamentally about the shootout at the OK Corral, arguably the most famous 30 seconds in American history. But in John Ford's loving hands, the story takes its time getting there and, in the process, becomes as graceful and easily beautiful a piece of film-making as you will ever see.

In this age when movie goers prize realism, sheer violence, and de-mythology, Ford has become something of a whipping boy for those who point out the glaring historical inaccuracies present in Hollywood's traditional portrayal of the American West. These folks miss the larger picture and are the poorer for their narrow, fashionable view. In this archetypal story of Wyatt Earp, Doc Holiday, and the Clanton family, Ford was not interested in historical detail. He was creating legends, not historical accounts for the archives.

Ford was a film maker. When a movie lover approaches a Ford film, it becomes necessary to give oneself over to the power of film. Once one does that, tremendous pleasures await. Such as: the townspeople of Tombstone having a dance around the skeletal frame of a half-built church while the huge, flat buttes of Monument Valley tower in the background; or Henry Fonda as Earp watching with great sympathy as Victor Mature (Doc Holiday) recites Hamlet's suicide soliloquy in a barroom (as hokey as this sounds, it is Fonda's expression that will move you, I guarantee).

Other images worth mentioning: Fonda/Earp walking alone through the rain of Tombstone at night; or the final shot of Clementine (meaningless in the film other than as a perfect symbol of all the things men love but can never have) standing framed against the Arizona sky and a picket fence - or the way Walter Brennan as Old Man Clanton, flashes through his scenes like a rattler's hiss.

Loving a John Ford Western is a bit like believing in a religion: it requires a leap of faith - a belief in something that might not be tangible reality, but is instead an ideal no less worthy of love.

This DVD is an absolute must for Ford fans, Western fans, or movie lovers. As an extra bonus, the special feature commentary by Ford biographer, Scott Eyman, is absolutely superb. Mr. Eyman's concise and rich commentary is nearly as enjoyable as the film itself. All in all, a real treasure for John Ford fans. -Mykal Banta

I do not like films that take a sympathetic view to the lives of killers. Killers are not to be sympathized with. They are to be executed. The overall effectiveness of this film, however, is too powerful to deny. It was an amazing work of art. This film is so well done, so well thought out and written, that what is left is a portrait of a ruined human being caught in a downward spiral of horrible self-laceration.

The main character's unbreakable decent into evil is charted out like a map with only one road. There were actual scenes (particularly the "job interview" scenes) where I found this killer heartbreaking - just as heartbreaking as I found the killer's last victim (the great character actor, Scott Wilson) pleading for his life.

What can be said about Charlize Theron's performance that hasn't already been said? Nothing, really. Suffice to say, a well deserved Oscar. I have never seen an actor completely disappear into a role like this. Ever. Theron was all the way gone. I have never seen a more convincing job.

Definitely not a film to set a romantic mood with the girlfriend. But one I bet you won't forget any time soon. --Mykal Banta

After reading this book and loving it, as I do all the Estleman westerns, I decided to write a review and was surprised to see that mine would be the first review. If this indicates a lack of readership, that is a true shame because Loren D. Estleman is one of the finest writers working in fiction today.

This book is another entry in the western series starring Page Murdock, Deputy U.S. Marshall from the Montana Territory. In this installment, Murdock is sent to the Barbary Coast of San Francisco not many years after the end of the Civil War. His mission is to disrupt the activities of The Sons of the Confederacy, a dangerous fringe group that threatens the peaceful re-union of the states.

The Page Murdoch series works on a couple of different levels; the first being that of a well told, beautifully paced action novel. On another level, Estleman's westerns work as impeccably researched historical novels, a level in which this novel is particularly strong. Estleman brings the incredibly dangerous bustle of the Coast to life in these pages. From the criminal rhyming slang and gang warfare to the oily seduction of the opium dens, this is a place that nearly glitters with danger. When Murdock walks its streets, Estleman's expert prose makes the hair on the back of the reader's neck stand on end. Estleman's work is always sprinkled with historical detail, whether it be Murdock's beloved 5 shot Deane-Adams English revolver or the style of dress and manners.

And, of course, Estleman's westerns also work as mainstream literature. There is an unsentimental quality about his writing that is very refreshing, as well as elements of a very dry humor. The plotting is done with a master's touch, and every Page Murdoch adventure is backed by a brilliant storyline. In addition, nearly every page is sparked with a clever and concise turn of phrase that brings things in a fresh way to the reader's mind (much like Shakespeare).

Finally, the characters always jump right off the page and mark a place in the reader's memory. This novel is no exception. My favorite characters in this novel were Hodge, a dwarf bouncer that has a ball and chain were his hand used to be, who has to use a ladder to hop up on the bar, where he enforces decorum; and F'an Chu'an (Fat John) the powerful, menacing head man of the Chinese Tong gang.

To sum up, I truly hope I am not the last reader that will review this work. Estleman deserves to be widely read. --Mykal Banta

This film seemed to vanish quickly, so easily confused with about a dozen lesser films about spies and rampant covert operations. That's a shame, because this one is a cut above the rest that may have to wait a few years to get its due.

If you like spy films, or just well made action films that don't fizz at the end, you really should add this one to your collection. It's from the Robert Ludlum book, all about a highly and expensively trained covert agent suffering from amnesia. What this film has going for it is the following:

Director, Doug Liman, demonstrates an expert hand at action sequences. When master killing machine, Jason Bourne, senses something isn't right, Liman's expert film making begins to ratchet up the tension almost subconsciously. By the time the action comes, the viewer has been expertly brought to the edge of his seat. These action sequences build to a perfect climax of violence that is always satisfying. The fight scenes are among the finest I have seen in any recent film. There is nothing in this director's resume to suggest this, but trust me; he knows what he's doing. All the action has real weight and danger, which is an almost specialized talent for directors. Think Walter Hill. Thing Sam Peckinpah.

This movie also has brilliant, believable performances all around.

First and foremost among them, Matt Damon simply does everything right in this role. In an action film, often the lead isn't called upon to do a lot of top drawer acting, which is fine. Being believable in an action scene is talent enough, in my book. But in this role, Matt Damon is required to do some old-school, plain old acting, and he more than meets the challenge. See, the hook of this film is the main character, Jason Bourne, is waking up from an amnesia fog and slowly discovers his immense, instinctive prowess as a killer/agent. So the actor must make a shift now and then from moments of confusion and innocence to complete mastery of any physical situation. In addition, the character is slowly coming to the conclusion that the memories he has of his passed life, he no longer wants. In short, he does not want the life he is remembering. Damon is very touching in these scenes, and his acting is very, very solid. His performance here, and in The Talented Mr. Ripley, is so good it makes you wonder why he hangs around Ben Afleck.

Franka Potente, the actress who plays his romantic interest, is such an incredible actress. She is simply a pleasure to watch, and she always brings such authenticity to her roles. She is no model turned actress, this one. She demonstrated her action/acting chops in Run, Lola, Run, a few years ago, and it was a brilliant move casting her here. She is simply beautiful in a very unique way, and she can act the socks of the current crop of female leads. Potente always looks in place in al her roles, and it's a damn shame she doesn't get more work.

Finally, the smaller parts shine as well. My favorite being the assassin sent to kill Bourne, played with black-eyed menace by Clive Owen. It's a very small part, but crucial, and Owen makes the most of it. Also, the always reliable Chris Cooper and Brian Cox are on board as the sinister, competent bosses of the covert operations.

This is really a great addition to any action DVD collection. -Mykal Banta

In the rich history of American film, this piece of work by Howard Hawks makes the short list. It has been used as a template for any filmmaker wishing to make a Western, and further, it is one of those rare pieces of culture by which a society defines itself. If you needed to demonstrate to a foreigner what the American character is all about, you could show them this movie.

As a Western, it certainly has it all: cowboys killing Indians, men leaving women for the call of the trail, gunfights, stampedes, love, betrayal, and finally redemption. It is also gorgeously filmed, beautifully written, and well acted throughout. And finally, it stars John Wayne, an actor that towers over today's crop of male actors like an oak over weeping willows.

This film also stars Montgomery Clift as the surrogate son that eventually challenges Wayne for control of the drive. In terms of acting styles, Clift and Wayne were about as different as two actors could be: Wayne seemed always to act on instinct and charisma, while Clift was one of the young Turks through the 40's and 50's, a proponent of a new style of acting - the method developed by Lee Strasburg (one can easily imagine Wayne giving his crooked sarcastic grin over the very idea of a "school" where young people learn acting). Yet, casting these two together works. By all reports, the two hated each other at the beginning of the production, but had developed an actor's respect for one another by the end of filming. Wayne, after watching Clift in one of his scenes, was quoted as saying something like "damn, that little queer sure can act."

John Wayne, for his part, goes toe-to-toe with the new school of internal acting and more than holds his own. His portrayal of a powerful, unbending man who slowly descends into bitterness and hate is a real treat to watch. His performance was, to use a phrase Wayne would have hated, multi-layered and very, very skillful.

Other performances to watch: the ever-faithful Walter Brennan, one of the greatest character actors of all time, is perfect as Wayne's partner/friend. It is in watching Brennan's reaction to Wayne's increasing dementia that we see how far off track he's gone. John Ireland also is a standout as Cherry Valance, the pistoleer, who is full of casual grace and menace. As if all the above wasn't enough, the great Harry Carey is onboard briefly as Mr. Melville, radiating authority.

Every film lover should own this film and watch it at least once annually.

Every American should treasure it as a source of national pride.

One note: this is one film that simply demands a better DVD treatment. The picture and sound isn't bad, but it isn't widescreen, and there are absolutely no special features. C'mon, Criterion Collections, where are you? --Mykal

This is one of the finest books about military firearms ever written. Julian Hatcher wrote this book in 1947, and it touches on virtually every aspect of firearms then current. The author's writing style is precise and clear without being dry. The operation of all military small arms and machine guns are given in great detail, as well as Hatcher's observations about recoil, gun powder, metallurgy, ballistics, and much more. I don't think I have ever learned more about firearms from any other single volume. It is an incredible history lesson for the firearms enthusiast written by a man that watched it all happen first hand. Read this book to truly appreciate the incredible engineering feat that the machine gun represents.

Still, the value of the work goes beyond a catalogue of all aspects of military firearms - it is a man discussing the great passion of his life. Imagine an enthusiastic teacher, who truly loves his subject, telling you in detail everything he knows.

If you are as fascinated with firearms as I am, get this book. You will not be disappointed.

--Mykal Banta

I really admire this writer a great deal because he has a gift for making complex concepts clear as crystal. I don't know about you, but I am sick of overly sarcastic or "humorous" approaches to series topics - the whole "atomic fusion for dummies" style of writing. I find a clear, insightful explanation entertaining enough, thanks. When I read this book, I found it thrilling because all the basic economic principles we all live with everyday (but so often are clouded in mystery) suddenly opened up before me because of the author's clarity.

It is true that Mr. Heilbroner is a liberal\democratic leaning economist. He admits that up front, however, in the introduction, and he promises the reader that all points of view in the book will be clearly marked as opinion and never given as fact. I should say that I lean to the right heavily, and I did not find this book unfair or overly biased at all. If you are a conservative like me, do not omit this book because of the author's stated economic preferences. It is a wonderful book full of deep insights and observations, written for serious grown-ups looking for an introduction into the fascinating world of economics. --Mykal Banta