Indian cowboy attack sex video. The 100 Best Western Movies of All Time.



Indian cowboy attack sex video

Indian cowboy attack sex video

Castellari and Sergio Corbucci, among many, many others, as authors of Western offshoots that influence filmmakers even today.

Spaghetti Westerns are, after all, a cousin to American Westerns in terms of style, content, themes and morality. The Italian Westerns are literally gritty where American Westerns are polished and clean; they deal in ambiguity instead of black and white.

The average Spaghetti Western hero looks like a total bastard next to the clean-cut heroes of American Westerns, who uphold all of the best and most commonly accepted standards of heroism as we know them. Who would you rather save the day for you? Will Kane, or the man with no name? A better point of debate: Did the Spaghetti Western become a thing in or ?

With that in mind, we here at Paste set about collecting Westerns from all over the map and across the ages to assemble our picks for the best Western films of all time. The Quick and the Dead Director: Richard Widmark stars as a cavalry captain charged with bringing in several hundred Cheyenne who, starving after the U.

Points for Academy Award-nominee William H. Joel and Ethan Coen Year: Casting, however, has never been a Coen weakness, and Jeff Bridges wholly reinvents the role for which Wayne received an Oscar. There is a simplicity about the performances here that jives well with the rich landscapes and the authentically recreated, urban settings of 19th-century Arkansas and Indian territory. That, and the genuine attire of the times, allows the Coens to create a world where the actors can play real characters, not caricatures of reality.

No four words could be more appropriate to the moment, or to the movie, a sprawling film with an intimate core. Quentin Tarantino is chiefly interested in the exchanging of barbs and threats more than he is in action.

Frontier justice does quench our thirst, but the themes of social justice that drive the film are more satiating by far. It all adds up to a towering work, as profound as it is profane. On the lam after a gold robbery, a group of Confederate army deserters retreats to an abandoned mansion in the midst of a forgotten plantation in order to regroup, tend to their wounded and plan their next move.

As the night progresses, the renegades discover they are not alone. The ghosts of the plantation owner and his family haunt the manse. Even worse are the creatures prowling the cornfield, which the gentleman owner unleashed during his experiments on his slaves.

Magic rituals intended to resurrect his wife instead opened the doorway to demonic creatures who took possession of the remaining slaves as well as his children. The house now acts as a lodestone, drawing corrupt individuals in as fuel for demonic transformation.

Unwittingly opening themselves to psychic attack, the renegades are slowly consumed by their individual greed, which turns to mistrust and paranoia that one or several of the others in their gang are working together to abscond with all the gold.

Thanks to the work of a strong ensemble cast, including Henry Thomas, Patrick Fugit, Michael Shannon and Isaiah Washington, as well as its stylish cinematography, Dead Birds is legitimately unsettling, drenched in equal parts dread, spooky atmosphere and rawhide leather. You can almost smell the sweat and fear. Riders of Destiny Director: For the next decade, until John Ford resurrected him in as a bona fide screen presence in the iconic Stagecoach, Wayne became a matinee idol in numerous entertaining though mostly forgettable B-movie oaters.

Riders of Destiny, his first of many for Monogram Pictures, is notable for a number of reasons. As with many of these so-called Poverty Row Westerns of the s, Riders of Destiny is a brisk narrative and high on sensational plot twists.

Villains are dastardly, in this case a corrupt savage capitalist played by Forrest Taylor, who intends to steal all of the water from surrounding ranchers, charging them an exorbitant fee for its use.

And our hero is stalwart and true, here played by Wayne. What makes this singing cowboy more interesting than all of the yodelers who would appear on screen afterward is a simmering violence and darkness within him.

The Violent Men Director: The film falls under the same umbrella as movies like Forty Guns and Johnny Guitar, where the cattle baron is replaced with a cattle queen. The good news is that the film is over the top enough to be worth checking out, particularly as it concerns Barbara Stanwyck, who plays the ruthless and calculating Martha Wilkinson with just the right amount of percolating menace, as well as Glenn Ford, playing a fairly prototypical Western hero type with burly brio.

If you get flashes of Double Indemnity at the presence of Edward G. Maybe this film is done better elsewhere in the Western canon, but The Violent Men is certainly done well enough. Four of the Apocalypse Director: Fulci is, after all, the guy who brought us such gory gems as The Beyond, City of the Living Dead, The Black Cat and Zombie Flesh Eaters, and the Western and all its subgenres tends to be a place of high values, higher gestures and little room for ennui.

But Four of the Apocalypse is, in a word, sad, a real downer of a film about a card shark, a pregnant prostitute, a drunkard, and a disturbed man who claims to see dead people, each on the run from a pack of murderers. Maybe that sadness is just a reflection of the era: The Hired Hand Director: Maggie Gilkeson Cate Blanchett , a small town healer in the New Mexico territory, refuses to reconcile with her father Samuel Jones Tommy Lee Jones when he unexpectedly shows up at her door.

Years ago, Jones abandoned her mother to a life of hardship and early death so he could go native with the Chiricahua tribe. He and his band of followers pillaged the countryside killing white settlers and abducting their daughters to sell them into slavery in Mexico.

The good, the bad, the indifferent and the cowardly exist on both sides. After learning to accept help from those she loathes, her path ultimately leads to reconciliation with the past and the more pressing matter of the salvation of her eldest daughter. James, Cole Younger and their brothers are granted clemency by the Missouri legislature, who views their Robin Hood-style lootings in the sympathetic light of southern peasantry having to adjust to post-Civil War challenges brought about by the triumph of northern industry.

The bankers, however, do not share these sympathies and hire a squad of Pinkerton detectives to bring the gang to justice.

Younger an almost unrecognizable Cliff Robertson , the brains of the operation, wants them all to lay low, retire and enjoy the unexpected freedom that has been granted to them. Jesse James Robert Duvall wants to keep pillaging, latching onto an old Younger scheme to rob a bank in Northfield, Minn. Nothing goes to plan, and things fall apart in an almost comedic travesty of missteps, miscalculations and unexpected interference.

Kaufman thoroughly researched his material and offers up his vision of how it really was, with some poetic license, of course. Little Big Man Director: As filmic looks at a white man amid Indian culture and community go, Dances with Wolves had nothing on this sprawling, moving epic.

Christoph Waltz is marvelous as Dr. Django Unchained is sickening satire, bloody, uneasily hilarious and entertaining in that Tarantino fashion that squarely divides audiences. Charles Marquis Warren Year: The Army, as is its entirely realistic, pacifistic way, is trying to broker peace with the Apaches before shuffling them off to Florida reservations. Of course, the white man is right.

Needless to say, the xenophobia is rampant. With its overt themes of ethnic and religious cleansing and deeply offensive racial stereotypes, Arrowhead is oft discussed as a McCarthy-era anti-Communist screed. Frankly, the not-so-sub-text is frighteningly apt today.

Essentially a domestic drama set on the Texas frontier, Rio Grande has John Wayne reprising his role as Kirby Yorke who, 15 years after the Shenandoah Valley Campaign, has been promoted to Lieutenant Colonel on a river border outpost and is hurting for troops as he keeps the Apaches at bay. The bravado horse-riding stunt work and battle scenes are breathtaking, and even the over abundance of folk songs by the Sons of Pioneers who would later perform the theme for The Searchers feels authentic.

If you think Jack Palance is badass when he has both arms, try messing with him when he plays a dude with a prosthetic wooden arm. But in many ways that just makes Blazing Saddles the ultimate Western film: He grew old, got nostalgic, and struck out on a new adventure.

Blackthorn is a gorgeously shot series of overlapping plot threads, in which the death of Etta Place, a quest to recover money stolen from powerful industrialists, and the interference of a retired Pinkerton agent either supersede or tie into one another.

Gunfight at the O. At its heart though, the film is ultimately a straightforward story of brotherly love between Wyatt Earp and Doc Holliday, showing how the two men grow to respect one another by keeping each other in check and helping each other grow as men in the face of violent turmoil.

While Sturges and screenwriter Leon Uris reportedly heavily researched the incidents, the film is still a fairly fanciful treatment of the events in Tombstone. The Claim goes against the genre in other ways, too, favoring talk over action and showcasing courage not through force of arms but strength of perseverance, but what lets the film stand out most of all is its tendency to gut punch us right in our emotions.

Franco Nero, a frequent flier on this list, plays the title character, a part-Indian, part-white soldier returned home after spending the Civil War fighting on behalf of the Union, only to find the place has been taken over by a tyrant and his three corrupt half-brothers, who have abandoned their father.

So naturally, Keoma makes it his mission to visit justice upon the quartet, enlisting the aid of dad and Woody Strode in his pursuit of rightness. Keoma is an often lugubrious affair that cleaves as closely to Greek tragedy as it does to Western cinema, a work peppered by occasional and possibly supernatural entities; these quirks are the characteristics that make the film tick and give it high value as an underrated and essential late-stage entry in the Spaghetti Western canon.

None of them are direct sequels. On the surface, this is typical Euro Western fare: Milian is double-crossed by his gang and left for dead. It all plays like a hallucinatory horror Western … still nothing quite like it. The production was problematic to say the least, compounded when the original director, Stanley Kubrick, was fired after butting heads with his star one too many times.

Brando plays a tortured, revenge-minded gunslinger who goes up against his old friend who once betrayed him, played by Karl Malden. Freud would have had a field day with this one. The Missouri Breaks Director: Marlon Brando as a vicious, deranged serial killer with a penchant for disguise and who speaks in a thick Irish brogue, whether to his human or animal co-stars.

Even among the assortment of odd ducks named in this collection of films, The Missouri Breaks is pretty damn strange—a plotless, shapeless film about a cattle thief played by Jack Nicholson who is targeted by a land baron who prefers to deal with criminals himself instead of calling the law.

Bad Day at Black Rock Director: World War II vet John Macready Spencer Tracy , a one-armed former platoon leader, unexpectedly shows up in the desert town of Black Rock looking for the father of one of his fellow fallen soldiers. Undeterred by the constant harassment of local heavies Hector David Lee Marvin and Coley Trimble Ernest Borgnine and the persistent questioning of motives by unofficial town boss Reno Smith Robert Ryan , Macready discovers the farmer was murdered and vows to bring the culprits to justice.

The topical and potentially controversial subject of the film, conceived with Tracy in mind, almost scared the star off, as did as the inferior short story from which the screenplay was sourced. The Way of the Samurai , Jarmusch peppers his film with deliberately unsubtitled conversations spoken in native Cree and Blackfoot languages, along with his signature assortment of misfits—played by everyone from Iggy Pop to Crispin Glover to Robert Mitchum in his final film.

Bizarre, droll and lyrical as only Jarmusch can do, Dead Man is one strange trip. After being tried on the spot by a hotheaded mob, he survives a brutal lynching. Cleared of wrongdoing by hanging judge Fenton Pat Hingle , a character based on historical figure Judge Isaac Parker, Cooper is deputized.

He plans to use his position to legally hunt down the nine men behind his lynching.

Video by theme:

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Indian cowboy attack sex video

Castellari and Sergio Corbucci, among many, many others, as authors of Western offshoots that influence filmmakers even today. Spaghetti Westerns are, after all, a cousin to American Westerns in terms of style, content, themes and morality.

The Italian Westerns are literally gritty where American Westerns are polished and clean; they deal in ambiguity instead of black and white.

The average Spaghetti Western hero looks like a total bastard next to the clean-cut heroes of American Westerns, who uphold all of the best and most commonly accepted standards of heroism as we know them. Who would you rather save the day for you? Will Kane, or the man with no name? A better point of debate: Did the Spaghetti Western become a thing in or ?

With that in mind, we here at Paste set about collecting Westerns from all over the map and across the ages to assemble our picks for the best Western films of all time. The Quick and the Dead Director: Richard Widmark stars as a cavalry captain charged with bringing in several hundred Cheyenne who, starving after the U.

Points for Academy Award-nominee William H. Joel and Ethan Coen Year: Casting, however, has never been a Coen weakness, and Jeff Bridges wholly reinvents the role for which Wayne received an Oscar. There is a simplicity about the performances here that jives well with the rich landscapes and the authentically recreated, urban settings of 19th-century Arkansas and Indian territory. That, and the genuine attire of the times, allows the Coens to create a world where the actors can play real characters, not caricatures of reality.

No four words could be more appropriate to the moment, or to the movie, a sprawling film with an intimate core. Quentin Tarantino is chiefly interested in the exchanging of barbs and threats more than he is in action.

Frontier justice does quench our thirst, but the themes of social justice that drive the film are more satiating by far. It all adds up to a towering work, as profound as it is profane. On the lam after a gold robbery, a group of Confederate army deserters retreats to an abandoned mansion in the midst of a forgotten plantation in order to regroup, tend to their wounded and plan their next move.

As the night progresses, the renegades discover they are not alone. The ghosts of the plantation owner and his family haunt the manse. Even worse are the creatures prowling the cornfield, which the gentleman owner unleashed during his experiments on his slaves. Magic rituals intended to resurrect his wife instead opened the doorway to demonic creatures who took possession of the remaining slaves as well as his children.

The house now acts as a lodestone, drawing corrupt individuals in as fuel for demonic transformation. Unwittingly opening themselves to psychic attack, the renegades are slowly consumed by their individual greed, which turns to mistrust and paranoia that one or several of the others in their gang are working together to abscond with all the gold.

Thanks to the work of a strong ensemble cast, including Henry Thomas, Patrick Fugit, Michael Shannon and Isaiah Washington, as well as its stylish cinematography, Dead Birds is legitimately unsettling, drenched in equal parts dread, spooky atmosphere and rawhide leather. You can almost smell the sweat and fear. Riders of Destiny Director: For the next decade, until John Ford resurrected him in as a bona fide screen presence in the iconic Stagecoach, Wayne became a matinee idol in numerous entertaining though mostly forgettable B-movie oaters.

Riders of Destiny, his first of many for Monogram Pictures, is notable for a number of reasons. As with many of these so-called Poverty Row Westerns of the s, Riders of Destiny is a brisk narrative and high on sensational plot twists.

Villains are dastardly, in this case a corrupt savage capitalist played by Forrest Taylor, who intends to steal all of the water from surrounding ranchers, charging them an exorbitant fee for its use. And our hero is stalwart and true, here played by Wayne. What makes this singing cowboy more interesting than all of the yodelers who would appear on screen afterward is a simmering violence and darkness within him.

The Violent Men Director: The film falls under the same umbrella as movies like Forty Guns and Johnny Guitar, where the cattle baron is replaced with a cattle queen. The good news is that the film is over the top enough to be worth checking out, particularly as it concerns Barbara Stanwyck, who plays the ruthless and calculating Martha Wilkinson with just the right amount of percolating menace, as well as Glenn Ford, playing a fairly prototypical Western hero type with burly brio. If you get flashes of Double Indemnity at the presence of Edward G.

Maybe this film is done better elsewhere in the Western canon, but The Violent Men is certainly done well enough. Four of the Apocalypse Director: Fulci is, after all, the guy who brought us such gory gems as The Beyond, City of the Living Dead, The Black Cat and Zombie Flesh Eaters, and the Western and all its subgenres tends to be a place of high values, higher gestures and little room for ennui. But Four of the Apocalypse is, in a word, sad, a real downer of a film about a card shark, a pregnant prostitute, a drunkard, and a disturbed man who claims to see dead people, each on the run from a pack of murderers.

Maybe that sadness is just a reflection of the era: The Hired Hand Director: Maggie Gilkeson Cate Blanchett , a small town healer in the New Mexico territory, refuses to reconcile with her father Samuel Jones Tommy Lee Jones when he unexpectedly shows up at her door. Years ago, Jones abandoned her mother to a life of hardship and early death so he could go native with the Chiricahua tribe.

He and his band of followers pillaged the countryside killing white settlers and abducting their daughters to sell them into slavery in Mexico. The good, the bad, the indifferent and the cowardly exist on both sides. After learning to accept help from those she loathes, her path ultimately leads to reconciliation with the past and the more pressing matter of the salvation of her eldest daughter.

James, Cole Younger and their brothers are granted clemency by the Missouri legislature, who views their Robin Hood-style lootings in the sympathetic light of southern peasantry having to adjust to post-Civil War challenges brought about by the triumph of northern industry. The bankers, however, do not share these sympathies and hire a squad of Pinkerton detectives to bring the gang to justice.

Younger an almost unrecognizable Cliff Robertson , the brains of the operation, wants them all to lay low, retire and enjoy the unexpected freedom that has been granted to them. Jesse James Robert Duvall wants to keep pillaging, latching onto an old Younger scheme to rob a bank in Northfield, Minn. Nothing goes to plan, and things fall apart in an almost comedic travesty of missteps, miscalculations and unexpected interference.

Kaufman thoroughly researched his material and offers up his vision of how it really was, with some poetic license, of course. Little Big Man Director: As filmic looks at a white man amid Indian culture and community go, Dances with Wolves had nothing on this sprawling, moving epic. Christoph Waltz is marvelous as Dr. Django Unchained is sickening satire, bloody, uneasily hilarious and entertaining in that Tarantino fashion that squarely divides audiences.

Charles Marquis Warren Year: The Army, as is its entirely realistic, pacifistic way, is trying to broker peace with the Apaches before shuffling them off to Florida reservations. Of course, the white man is right.

Needless to say, the xenophobia is rampant. With its overt themes of ethnic and religious cleansing and deeply offensive racial stereotypes, Arrowhead is oft discussed as a McCarthy-era anti-Communist screed. Frankly, the not-so-sub-text is frighteningly apt today. Essentially a domestic drama set on the Texas frontier, Rio Grande has John Wayne reprising his role as Kirby Yorke who, 15 years after the Shenandoah Valley Campaign, has been promoted to Lieutenant Colonel on a river border outpost and is hurting for troops as he keeps the Apaches at bay.

The bravado horse-riding stunt work and battle scenes are breathtaking, and even the over abundance of folk songs by the Sons of Pioneers who would later perform the theme for The Searchers feels authentic. If you think Jack Palance is badass when he has both arms, try messing with him when he plays a dude with a prosthetic wooden arm.

But in many ways that just makes Blazing Saddles the ultimate Western film: He grew old, got nostalgic, and struck out on a new adventure. Blackthorn is a gorgeously shot series of overlapping plot threads, in which the death of Etta Place, a quest to recover money stolen from powerful industrialists, and the interference of a retired Pinkerton agent either supersede or tie into one another. Gunfight at the O. At its heart though, the film is ultimately a straightforward story of brotherly love between Wyatt Earp and Doc Holliday, showing how the two men grow to respect one another by keeping each other in check and helping each other grow as men in the face of violent turmoil.

While Sturges and screenwriter Leon Uris reportedly heavily researched the incidents, the film is still a fairly fanciful treatment of the events in Tombstone.

The Claim goes against the genre in other ways, too, favoring talk over action and showcasing courage not through force of arms but strength of perseverance, but what lets the film stand out most of all is its tendency to gut punch us right in our emotions.

Franco Nero, a frequent flier on this list, plays the title character, a part-Indian, part-white soldier returned home after spending the Civil War fighting on behalf of the Union, only to find the place has been taken over by a tyrant and his three corrupt half-brothers, who have abandoned their father.

So naturally, Keoma makes it his mission to visit justice upon the quartet, enlisting the aid of dad and Woody Strode in his pursuit of rightness. Keoma is an often lugubrious affair that cleaves as closely to Greek tragedy as it does to Western cinema, a work peppered by occasional and possibly supernatural entities; these quirks are the characteristics that make the film tick and give it high value as an underrated and essential late-stage entry in the Spaghetti Western canon.

None of them are direct sequels. On the surface, this is typical Euro Western fare: Milian is double-crossed by his gang and left for dead. It all plays like a hallucinatory horror Western … still nothing quite like it.

The production was problematic to say the least, compounded when the original director, Stanley Kubrick, was fired after butting heads with his star one too many times. Brando plays a tortured, revenge-minded gunslinger who goes up against his old friend who once betrayed him, played by Karl Malden. Freud would have had a field day with this one. The Missouri Breaks Director: Marlon Brando as a vicious, deranged serial killer with a penchant for disguise and who speaks in a thick Irish brogue, whether to his human or animal co-stars.

Even among the assortment of odd ducks named in this collection of films, The Missouri Breaks is pretty damn strange—a plotless, shapeless film about a cattle thief played by Jack Nicholson who is targeted by a land baron who prefers to deal with criminals himself instead of calling the law.

Bad Day at Black Rock Director: World War II vet John Macready Spencer Tracy , a one-armed former platoon leader, unexpectedly shows up in the desert town of Black Rock looking for the father of one of his fellow fallen soldiers. Undeterred by the constant harassment of local heavies Hector David Lee Marvin and Coley Trimble Ernest Borgnine and the persistent questioning of motives by unofficial town boss Reno Smith Robert Ryan , Macready discovers the farmer was murdered and vows to bring the culprits to justice.

The topical and potentially controversial subject of the film, conceived with Tracy in mind, almost scared the star off, as did as the inferior short story from which the screenplay was sourced. The Way of the Samurai , Jarmusch peppers his film with deliberately unsubtitled conversations spoken in native Cree and Blackfoot languages, along with his signature assortment of misfits—played by everyone from Iggy Pop to Crispin Glover to Robert Mitchum in his final film.

Bizarre, droll and lyrical as only Jarmusch can do, Dead Man is one strange trip. After being tried on the spot by a hotheaded mob, he survives a brutal lynching. Cleared of wrongdoing by hanging judge Fenton Pat Hingle , a character based on historical figure Judge Isaac Parker, Cooper is deputized.

He plans to use his position to legally hunt down the nine men behind his lynching.

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