Hellen I like the storyline of this show,it attract me so much

Voxitype Good films always raise compelling questions, whether the format is fiction or documentary fact.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

moonspinner55 Barbara Stanwyck (hard as nails) plays a powerful rancher with political ties near Tombstone whose hired hands, mostly crooked and lead by her own brother, bring her together with Barry Sullivan of the U.S. Attorney General's office, out to arrest one of her boys for robbery. Surprisingly brutal and adult western from Globe Enterprises and distributed by Twentieth Century-Fox, written and directed by Samuel Fuller as if he were trying to find a place for every western cliché in the filmmaker's manual. Joseph Biroc's moody black-and-white cinematography gives the proceedings an intensity that elevates the script, even as Fuller's staging--particularly the gun-blazing confrontations--typically run the gamut from florid to outrageous. Sullivan is sturdy (and colorless) as usual; Stanwyck has this type of role down pat. **1/2 from ****

christopher-underwood From the rattling good start with forty horsemen racing with Stanwyck, majestic on her fine white horse, to the very fine shoot out at the end, this is assured and exciting film making all the way. I was reminded of Johnny Guitar even Rebel Without A Cause, but this is very much Sam Fuller's film. However, seemingly ramshackle the odd moments are, we are soon brought up and let known that all is very much under control. I was fascinated to learn that Fuller knew Bunuel because not only is that mad opening with thundering hooves and rearing horses reminiscent of something from the cannon of the Spanish master, there is the extraordinary dining room sequence where the famous forty sit in subservience to the lady of the house and even pass from man to man the warrant for her inspection. A late western and a late film for Stanwyck but none the worse for that. Compelling, believable yet crazy and a most enjoyable film.

johnnyboyz In 1957 western Forty Guns, Sam Fuller crams an awful lot into an 80 minute runtime; indeed a film whose runtime is double that of its titular digit and whose substance still manages to outweigh some of our more contemporary star dominated genre pictures that are twice, or even three, times as long. The film is a character piece above all else; a film depicting love coming to a zone dominated by hate, a film depicting the changing of a guard where previously a seemingly unmovable, long standing patriarchy was only ever in force and a film depicting relationships with a bit of sustenance to them where previously there were minions doing dirty work and uneasy sibling allegiances.The film will open with a sweet tracking shot, it will end with a bitter-sweet final composition as two people appear to ride off together – during the middle section, pain; affection and most things in-between bitter and sweet will play out between a handful of people in an Old West town of way-back-when. It is a charming film, a short; sharp; brisk Western made by someone between producing the likes of Pickup on South Street and The Big Red One – a film with the scope and visual flair of the latter, but with the ground out, potentially violent, B-movie feel of the former. And then there is that opening, a wondrous series of cuts and compositions depicting a number of riders hurtling towards a seemingly random horse and cart plodding along on this open, barren plain under the hot sun of the American frontier. In the wagon sit the Bonnell brothers: Wes, Chico and Griff – towards them thunder the titular forty guns, a twice-score of men whose immediate presence strikes us as potentially dangerous but whose presence in the film in relation to these three men will only remain as potentially dangerous out of the actions of its leader.And then there is that leader: a woman, a female character whose presence even appears to startle the camera itself in her reveal – a mixture of surprise and allure as we focus on this distinct, black-clad figure atop a white horse dominating the scene and in charge of those, it appears, who follow her. She is Barbara Stanwyck's Jessica Drummond, a land owner but tyrant to those in the locale around her; someone who comes equipped with a hot headed brother who'll rear up later on with its own problems. If there was a protagonist, it would be amongst the three brothers and lie with that of Griff (Sullivan); a lawman whose seen things, and most likely done things, in the past of which he isn't proud although now works on the straight and narrow. He is a man here for one of Drummond's own forty guns, for they committed a felony and must now be taken away so as to be brought to justice.Things are not that easy, and Drummond gets in the way of business. The idea of being with Drummond occurs to Griff for the first time during a public bath set sequence, a scene wherein the character is spoken about as being this indomitable, untameable person – the character even lending time to forge a meek song in her honour. It is later God himself who has to interject in order to force some sort of a tryst between the two, when Drummond finds herself caught in a natural disaster and Griff is there to remedy the situation. Away from the central tract lies the tale of Drummond's aforementioned brother Brockie (Ericson); a man with a violent streak who upsets the elements and causes havoc in the nearby town when the chief law enforcer is killed. Meanwhile, the second of those three Bonnell brothers, in Wes (Barry), strikes up their own relationship with local girl Louvenie – this is before later coming to undertake the role of this now vacant position as a law enforcer.Ultimately, the film's more interesting strand involves its trump card Drummond and its brooding lead Griff, whose nature and set of characteristics, as we witness him essentially 'go up against' Drummond, has us think that if anyone was ever change Drummond, it may very well be him. Where these two sets of factions meet in the opening scene, as if coming face to face with one another in a 'head on' fashion, Fuller's film is effectively a depiction of each group of persons respective disintegration: Griff and his brothers as these people who arrive in the land looking for someone but end up finding something else and 'The Guns' as a group of people enjoying their power and accepting it at the bereft of a female leader who take against her beginning to put other men before them. We enjoy our time with these people and we enjoy Fuller's direction, particularly how he manages to shift from this potentially aggressive relationship between Bonnell and Drummond and back again. In fact, we come to enjoy most of what's in Forty Guns.

Lawson I couldn't help but to be disappointed with Forty Guns, which sold itself to be starring Barbara Stanwyck as the leader of a pack of forty outlaws. I expected a lot more action, especially from Stanwyck. But considering she was 50 years old when she made this, I really should have had lowered expectations. She was more of a figurehead - a don, like Marlon Brando in The Godfather. I don't think he got to shoot people either. I was also disappointed that this wasn't too feminist, considering its synopsis. Sure Stanwyck got to crack a whip and order some men around, but she also fell for some man, and got her heart broken, and still threw herself at him anyway. And I got a little lost with the plot, which involved indistinguishable brothers doing bad stuff and/or getting shot, which set up for feuds. Still, it's hard to dislike a Barbara Stanwyck movie. Even when it's bad, she still brings class to it.