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user\nThe arrival of vast waves of white settlers in the 1800s and their conflict with the Native American residents of the prairies spelled the end for the buffalo...
The commercial killers, however, weren't the only ones shooting bison... Train companies offered tourist the chance to shoot buffalo from the windows of their coaches... There were even buffalo killing contests... \"Buffalo\" Bill Cody killed thousands of buffalo... Some U. S. government officers even promoted the destruction of the bison herds... The buffalo nation was destroyed by greed and uncontrolled hunting... Few visionaries are working today to rebuild the once-great bison herds...
\"The Last Hunt\" holds one of Robert Taylor's most interesting and complex performances and for once succeeded in disregarding the theory that no audience would accept Taylor as a heavy guy...
His characterization of a sadistic buffalo hunter, who kills only for pleasure, had its potential: The will to do harm to another...
When he is joined by his fellow buffalo stalker (Stewart Granger) it is evident that these two contrasted characters, with opposite ideas, will clash violently very soon...
Taylor's shooting spree was not limited to wild beasts... He also enjoy killing Indians who steal his horses... He even tries to romance a beautiful squaw (Debra Paget) who shows less than generous to his needs and comfort...
Among others buffalo hunters are Lloyd Nolan, outstanding as a drunken buffalo skinner; Russ Tamblyn as a half-breed; and Constance Ford as the dance-hall girl... But Taylor steals the show... Richard Brooks captures (in CinemaScope and Technicolor) distant view of Buffalos grazing upon the prairie as the slaughter of these noble animals...
The film is a terse, brutish outdoor Western with something to say about old Western myths and a famous climax in which the bad guy freezes to death while waiting all night to gun down the hero...
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user\nHave no illusions, this IS a morality story. Granger is the troubled ex-buffalo hunter, tempted back to the plains one more time by kill-crazed Taylor. Granger can see the end is near, and feels deeply for the cost of the hunt-on the herds, the Indians and the land itself. Taylor, on the other hand admittedly equates killing buffalo, or Indians to 'being with a woman.' While Granger's role of the tortured hunter is superb, it's Taylor who steals the show, as the demented, immoral 'everyman' out for the fast buck and the goodtimes. There's not a lot of bang-bang here, but the story moves along quickly, and we are treated to a fine character performance by Nolan. The theme of this story is just as poignant today, as in the 1800s-man's relationship to the land and what's on it, and racism. Considering when this was made, the Censors must have been wringing their hankies during the scenes in the 'bawdy house', Taylor's relationship with the squaw, and much of the dialogue. Although downbeat, this is truly a great western picture.
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user\nThis is the most compelling and excellent performance that Robert Taylor ever gave. It even surpasses his wonderful performance as \"Johnny Eager\" coming a full 14 years after that film. His looks are still a wonder to see, but he has a maturity now that gives him the edge in this gritty, violent role. Charlie Gilson (Taylor) is the last of his breed, a buffalo hunter who kills not for the money but for the pleasure. His wild eyed killing of not only buffalo but human beings, is stunning to watch. He is basically a lonely man, needing the people around him, but they dislike him because of his sociopath behavior. His partner is Sandy McKenzie (Stewart Granger) who is sick of the hunt, and only goes along, because he is a failure at anything else. Along the way Charlie kills a family of Indians and captures the beautiful Debra Pagent. Charlie tries to seduce her to no avail, but sees that Sandy is interested in her also. Granger is kind of sad to watch, so fed up with the hunt, longing to go away with the girl and her baby. Lloyd Nolan as the drunken skinner is wonderful with his wise cracks and accordian playing. Russ Tamblyn plays the half breed trying to fit in a white world. The group is an odd mix of good and evil, young and old. In the end Taylor gets spooked by the buffalo, as many hunters before him had, and runs off leaving Sandy with the girl. Upon his return, that night Sandy leaves with the woman, setting Charlie off on a rampage of killing in a quest to get Sandy and have the girl for himself. The final confrontation comes in a snow storm and the last scene is so shocking that you will never forget it. It is Taylor's film all the way and he was truly a much underrated actor of the era.
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user\nLike most other reviewers I have first seen this movie (on TV, never on the big screen), when I was a teenager. My Dad has always regarded this film highly and recommended it to me then, and I must say he was not only right, but this movie has stayed with me forever in the more than 2 decades since I saw it first time. I have seen it two or three more times since then (just a few days ago I gave it another watch) and it has not lost anything of its impact with time. It still a great and well worth to be seen movie! Manr regard Peckinpah's RIDE THE HIGH COUNTRY as one of the first and best later western, which had a realistic look at life in the old west, but the hardly known LAST HUNT is definitely the better movie and was even half a dozen years earlier. Actually it was probably 3 decades ahead of its time, or maybe it still is ...
Although thinking hard and having certainly seen 100s of western (I like this genre) I can not remember any western as bleak and depressive as this one. Two men bound together, partly by hate, partly by not seeming to have other choices, surrounded by beautiful Ms. Padget, a crippled old man and a young Inian, leading the life of buffalo-killers until fate reaches out for one of them.
Nobody who has ever seen this movie will be able to forget its ending and the last frames of this gem. When the camera moves on and away from Mr. Taylor a white buffalo skin comes into sight (on a tree)and echos from the past, when all the hatred began, are present again. Mr. Taylor has got his buffalo, but in the end the buffalo got him.
Aside from the top performances of everybody involved, the intelligent script and the great dialogue, it should also be mentioned, that THE LAST HUNT is superbly photograped, I have seldomely seen a western that well shot (aside from the ones directed by Anthony Mann, which are also all superbly photographed), that all the locations are cleverly chosen and that even the soundtrack fits the picture very well.
And director BROOKS is really a superb storyteller. Master craftsmanship!He has made quite a couple of really great movies and was successful in nearly every imaginable genre, but even in an as prolific career as this one, THE LAST HUNT still shines as one of his best, if not his best.
Definitely would deserve a higher rating, compared to the 7-something RIDE THE HIGH COUNTRY enjoys.
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user\nI just watched this movie, by mistake. What a little gem. This film made in 1956 looks, and feels, like a late Seventies movie. And is in fact better, more restrained and correct than, say, Blue Soldier. The environmental, anthropological undertones are way ahead of its time. The understated cinematography is superb and terribly realistic. Much more than Dances with Wolves, The Last Hunt manages to convey the look and feel of the buffalo \"killing fields\" of the late 1800s. Probably because those in the movie were real killing fields. The movie was shot during legal forestry directed buffalo culls, so the animals you see are really being shot, the bones are real. In conclusion, a very under-rated western masterpiece, superbly acted, directed and shot.
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user\nI had watched several days film shooting of this movie that summer,the end result was just two scenes in the movie. The location was Sylvan Lake in the Black Hills. Bring the wagon,stop the wagon etc . So this Dakota youth looked forward to seeing the movie and was not disappointed. The local buffalo herd was being culled so the shooting scenes were for real. (yes Doris, animals were hurt during filming) I think the ending was copied by Jack Nicholson in the Shining? A great western/social comment from the 50's. This should be in the same class as High Noon for real western drama or used as a social statement like Blackboard Jungle or Rebel Without A Cause was for 50's youth.
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user\nI saw this film about twenty years ago on the late show. I still vividly remember the film, especially the performance of Robert Taylor. I always thought Taylor was underrated as an actor as most critics saw him as solid, almost dull leading man type, and women simply loved to watch his films because of his looks. This film, however, proved what an interesting actor he could be. He did not get enough roles like this during his long career. This is his best performance. He is totally believable in a truly villainous role. From what I have read, he was a very hardworking and easy going guy in real life and never fought enough for these kind of roles. He basically would just do what MGM gave him. This film proves that he could have handled more diverse and difficult roles. The other thing I remember about this film is how annoying Lloyd Nolan's character was. Nolan was a great actor, but this character really aggravated me. The last scene of the film has stuck with me for all of these years. This film is definitely worth a look.
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user\nThe film largely focuses on a bullying Robert Taylor as a ruthless buffalo hunter and the people who have to put up with him. Set amidst a hunt for dwindling numbers of buffalo, it portrays the end of a tragic era of senseless slaughter and is full of drama and remorse for both the buffalo and the Native Americans. Taylor is blinded by his hatred of Indians and his naivete that the buffalo herds will never disappear. In one scene, he shoots animal after animal, while in another he murders Indians and then eats the food they had cooking on their fire. Under this ruthless exterior lies an insecure person who is reduced to begging his comrades (Stewart Granger, Lloyd Nolan, and Russ Tamblyn) not to leave him. It's not the most pleasant of films and is weighed down by the drama it creates, leading to a dismal and very fitting conclusion in a blizzard.
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user\nThe memory of the \"The Last Hunt\" has stuck with me since I saw it in 1956 when I was 13. It is a movie that was far ahead of others at the time in that it addressed the treatment of the natives, the environment, and the ever present contrast between the short and long term effects of greed. It is as relevant today as in 1956, a cinemagraphic discussion of utmost depth and relevance. To top it off the setting is beautiful and the cinematography excellent. The memory of this movie will be with me to the end of my days.
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user\nRichard Brooks' The Last Hunt was a film star Stewart Granger couldn't even stand to hear mentioned  he even tore up a vintage poster for the film when presented it for signing in his later years  but then the director did run off with his wife, so it's understandable. For anyone else this is one of the best of the adult Westerns of the 50s, and years ahead of its time in its attitude to the environment.
In many ways it plays almost like a sequel to one of Anthony Mann's Westerns that see their heroes dragged to their redemption kicking and screaming against it every step in the way. Here Granger's legendary buffalo hunter has already seen the light but, after a buffalo stampede costs him his herd of cattle in a fit of poetic justice, he's dragged back into the darkness by Robert Taylor's callous and proudly racist gunslinger, justifying it on the grounds that \"I've already got the guilty conscience. I might as well have the money as well.\" Raised by Indians, he's fully aware of the damage he's doing as the disappearing buffalo heads for extinction, and he gradually becomes almost as consumed with self-loathing as Taylor is with hate. When the two men fall out over Debra Paget's squaw  the sole survivor of a band of Indians Taylor kills  and a white buffalo hide that's priceless to the hunters and the Indians for very different reasons, a showdown becomes inevitable, though the outcome certainly isn't.
Taylor's is certainly ironic casting  it was Granger turning down many of the epic roles MGM developed for him in films like Quo Vadis and Ivanhoe that gave Taylor his 50s comeback after years of steady decline. His hair color may not convince but his performance does, a shallow and violent man so consumed with hate that he doesn't wear a gun, the gun wears him. Granger's accent isn't always convincing, but he makes a good quiet hero in the Jimmy Stewart mold, trying to keep hold of his newfound decency and reconcile his actions with his beliefs before finally getting a chance to make amends. Russ Tamblyn's halfbreed skinner and Lloyd Nolan's one-legged old-timer also give as good as they get, but the real star is the script: tightly plotted with an excellent eye and ear for character  not to mention an ending Stanley Kubrick borrowed for The Shining  it balances historical revisionism with entertaining drama without ever selling either short. The new French DVD is extras-free but does boast a 2.35:1 transfer with an English soundtrack.
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user\nRobert Taylor as the mad buffalo hunter Charlie Gilson is the main character in this film. At the beginning I was thinking that Charlie would end up redeeming himself like John Wayne in The Searchers or James Stewart in The Naked Spur. But as the film goes along Gilson keeps doing more atrocities until you realize there is no hope for him. Stewart Granger is Sandy McKenzie, who wants to stop hunting because he realizes that the buffaloes will soon be gone and he becomes disgusted by the act of killing. Gilson is a natural killer who makes no distinction between animals or human beings. Debra Paget as the Indian girl is a surprising character considering the self imposed censorship of that time. She lies with Gilson in total resignation even though she hates him. The last scene of a frozen Gilson, is unforgettable.
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user\nThe Last Hunt is one of the few westerns ever made to deal with Buffalo hunting, both as a sport and business and as a method of winning the plains Indian wars. Before the white man set foot on the other side of the Mississippi, the plains used to have herds of American Bison as large as some of our largest cities. By the time of the period The Last Hunt is set in, the buffalo had been all but wiped out. The 20th century, due to the efforts of conservationists, saw a revival in population of the species, but not hardly like it once was.
Robert Taylor and Stewart Granger are co-starring in a second film together and this one is far superior to All the Brothers Were Valiant. Here Stewart Granger is the good guy, a world weary buffalo hunter, who has to go back to a job he hates because of financial considerations.
The partner he's chosen to throw in with is Robert Taylor. Forgetting Taylor for the moment, I doubt if there's ever been a meaner, nastier soul than Charlie Gilsen who Taylor portrays. In Devil's Doorway he was an American Indian fighting against the prejudice stirred up by a racist played by Louis Calhern. In The Last Hunt, he's the racist here. He kills both buffalo and Indians for pure pleasure. He kills one Indian family when they steal his mules and takes the widow of one captive. Like some barbarian conqueror he expects the pleasure of Debra Paget's sexual favors. He's actually mad when Paget doesn't see it that way.
No matter how often they refer to Russ Tamblyn as a halfbreed, I was never really convinced he was any part Indian. It's the only weakness I found in The Last Hunt.
However Lloyd Nolan, the grizzled old buffalo skinner Taylor and Granger bring along is just great. Nolan steals every scene he's in with the cast.
For those who like their westerns real, who want to see a side of Robert Taylor never seen on screen, and who don't like cheap heroics, The Last Hunt is the ideal hunt.
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user\nI was initially dubious about this movie (merely because of the subject), but the richly drawn characters, the fabulous scenes of the buffalo hunt, and the dramatic conclusion make it well-worth watching. I initially had trouble distinguishing between the two buffalo hunters but as the movie progressed they increasingly distinguished themselves. I am still haunted by the final scene.
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user\nThe Last Hunt is the forgotten Hollywood classic western. The theme of genocide via buffalo slaughter is present in other films but never so savagely. Robert Taylor's against-type role as the possessed buffalo and Indian killer is his finest performance.
In the 1950s, your mom dropped you and your friends off at the Saterday matinée, usually featuring a western or comedy. But it was wrong then and now to let a youngster watch psycho-dramas like The Searchers and The Last Hunt. Let the kids wait a few years before exposing them to films with repressed sexual sadism and intense racial hatred.
Why did Mom fail to censor these films? Because they featured \"safe\" Hollywood stars like Taylor and John Wayne. But the climatic scene in The Last Hunt is as horrifying as Vincent Price's mutation in The Fly.
The mythology of the white buffalo, part of the texture of this movie, was later ripped-off by other movies including The White Buffalo, starring Charles Bronson as Wild Bill Hickock. The laugh here is that Bronson used to play Indians.
Today a large remnant bison herd resides in Yellowstone National Park in Wyoming. In the winter, hunger forces surplus animals out of the park into Montana, where they are sometimes harvested by Idaho's Nez Perce Indians under a US treaty right that pre-dates the Lincoln Presidency. Linclon signed the Congressional act which authorized the continental railroad and started the buffalo slaughter.
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user\nA lot of talk has been made about \"psychological Westerns\", but this is one of the very few that is truly in that genre. It has big name stars who perform very well, but it is the director who makes this such a good movie. Stewart Granger loses his British safari hunter stereotype to play a haggard retired buffalo hunter who is revered in the West as one of the best. Robert Taylor plays the upstart (in contrast to the usual young upstart, Taylor's character is middle aged, too), who wants to slaughter buffalo, and lures Granger into business with him. They hire two other big name actors, Lloyd Nolan and Russ Tamblyn, into being their skinners. Granger is haunted by the buffalo he has killed, knowing that he may be to blame if they become extinct, knowing if they become extinct, the Native American way of life will greatly suffer. Taylor soon reveals a sadistic side, but it is a realistic saidism, unlike the one dimensional sadists of modern film, created by nerds and dorks. He is insecure, and needs human companionship. Still, he won't stop at murder. The end pits the two against each other, with a startling conclusion. The psychological effects of what they're doing are well depicted.
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user\nRobert Taylor and Stewart Granger switch the goodie-baddie roles they held in \"All the brothers were valiant\". Taylor seems a bit uncomfortable in his bad-guy role but Granger plays his part perfectly. However the real hero in the story are the bison and the northwest. The film is perfectly made, with the atmosphere of the times wonderfully given. The direction is taut and although the film is no light-hearted entertainment it is, to my way of thinking a major film, unjustly ignored by the cognoscenti.
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user\nSome time in the late 19th century, somewhere in the American West, several cowboys in need of money go on a buffalo hunt. The group's leader believes that buffaloes are too numerous for the hunting to have any impact, but the more experienced hunter has seen how quickly the population can collapse, and he isn't so sure. Featuring buffalo herds living in South Dakota and showing film of actual hunting (the movie's introduction explains it as necessary thinning of the herd), the movie does an excellent job of presenting us with the plight of the buffalo and its effect on Native Americans without ever getting preachy about it.
The real story, however, is about the dysfunctional family which is created by the small group formed to do the hunting. The father figure is Charlie, a violent man with a short fuse. Sandy, his \"brother\", is the experienced hunter who is tired of killing but needs the job after losing his cattle. A half-Indian boy, who hates the fact that he looks entirely Caucasian, takes the role of adopted son. The grandfather (and moral compass) is an alcoholic buffalo skinner; Charlie's \"wife\" is an Indian woman whose companions he killed after they stole his horses.
Charlie is clearly the most interesting figure. He is mean and insulting towards everyone around him, yet at the same time he knows that they are the only family and friends that he has. He expects the abducted Indian women to hate him, then accept him, but he doesn't know how to react when she refuses to do either. He's the one who put the family together in the first place, but he's also the one who is fated to ultimately destroy it.
This is all very similar to the classic \"Red River\", which also features a family of sorts being torn apart by the increasingly violent and alienated father figure. As one might expect, this movie suffers by comparison. The plot is not as focused on developing the characters and family dynamics, and the direction fails to keep all of the scenes working towards this common goal. Charlie is so thoroughly unlikable from the very beginning that we never have any reason to care about what happens to him or his family. On the positive side, however, the message surrounding the buffalo slaughter adds an extra dimension to the film and its conclusion is far superior to the Hollywood ending which was tacked on to the end of \"Red River\". As a result, \"The Last Hunt\" is an interesting and entertaining film, very well made, but falling short of what would be needed to consider it a classic.
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user\nA man readjusts to life alone after 45 years of marriage. He also has to solve the problem of the family milch cow, Tulip, which refuses to allow itself to be milked. Until, that is, he visualizes his wife who was the one who used to milk Tulip.
Tulip is based on a real story told in Griffith's family, of her grandparents' generation. The film is a nostalgic look back at a disappearing way of life, one where people still felt some sense of responsibility for each other, set in the lush green Victorian (the Australian state, not the era) countryside.
Writer and director Griffiths evidently has further ambitions in both areas, and this multiple award-winning 15-minute short is a fine beginning to her reel.
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user\nI hope she can keep acting and directing. She's surely up to the task and could easily develop that visionary streak into a long career of unconventional and rare works of art. Her work has a rare kind of generosity and her timing is spot-on! Oy I'm kvell
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user\nRachel Griffiths writes and directs this award winning short film. A heartwarming story about coping with grief and cherishing the memory of those we've loved and lost. Although, only 15 minutes long, Griffiths manages to capture so much emotion and truth onto film in the short space of time. Bud Tingwell gives a touching performance as Will, a widower struggling to cope with his wife's death. Will is confronted by the harsh reality of loneliness and helplessness as he proceeds to take care of Ruth's pet cow, Tulip. The film displays the grief and responsibility one feels for those they have loved and lost. Good cinematography, great direction, and superbly acted. It will bring tears to all those who have lost a loved one, and survived.
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user\n\"Tulip\" is on the \"Australian All Shorts\" video from \"Tribe First Rites\" showcasing the talents of first time directors.
I wish more scripts had such excellent dialogue.
I hope Rachel Griffiths has more stories to tell, she does it so well.
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user\nMany people know how it feels when a loved one is lost. The feelings of pain, grief and sorrow can be unbearable. However, sometimes it is the memories they leave behind that trigger the saddest emotions. This theme is superbly portrayed in the short film 'Tulip', directed by the award winning Australian actress, Rachel Griffths. Described as a movie 'as much about memories as it is about love', a string of sensitivity and sentimentality is expertly threaded into this triumphant 15 minute film.
'Tulip' is a beautifully wrought, touching and heart-warming story of a man's journey in coming to terms with the loss of his wife through the relationship he shares with a very special animal, 'Tulip'. The film opens with a rising dawn, the chirping of birds and a vast landscape, introducing the sense of rustic harmony present throughout the film. A soft music plays, marking the entrance of Ruth (Jean Bain). She wears a flowered dress and apron with a sun hat on her head. She gently pets Tulip, caressing her ears and patting her back. The furnishing of the house is impressive and the attention to detail is creditable (a vase of tulips can be seen on the bench), reflecting the peaceful rural community. Will (Charles 'Bud' Tingwell) greets Ruth as she is spooning the milk from the bucket. They pour the milk and coffee together, a sign of companionship and teamwork. Not a word is said but it is obvious that their relationship is close and affectionate; they paint a perfect picture of happiness.
Sadly, happiness doesn't last forever. The tragic passing of Ruth affects Will deeply. An effective scene of fading cars highlights Will's isolation and vulnerability at the end of the day of the funeral. Soon he sinks into depression and becomes oblivious to his surroundings when everything seems hopeless and lost. At Will's moment of despair, Tulip becomes the symbol of Ruth, the genuine connection Will has with his late wife. It was through Tulip that Will learns to cope with the absence of Ruth and overcome the heartrending feelings of loneliness.
Each of the characters is realistically and solidly portrayed, especially the part of Will. Charles 'Bud' Tingwell brings the character to life through personal investment. The recent loss of his own wife (Audrey Tingwell) is effectively reflected in his acting. Every sag of his shoulder and every frown on his brow make the viewer empathize strongly with the character. The character of Ruth is wonderfully carried out by Jean Bain. Although Ruth does not say a single word throughout the movie, her sweet personality and loving relationship with Will are obvious. Lois Ramsey and Kati Edwards give delightful performances in supporting roles as the friendly Margaret and Mary. They also add a subtle humor to the bittersweet story.
An anecdote from Griffths' childhood, the story of loss and discovery is remarkably captured in 'Tulip'. Beautifully shot and superbly acted, this film will surely make you misty eyed, triumphant or feel like drinking a cup of milk.
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user\nThis might be the WWE's 2nd best PPV of the year after Wrestlemania it was a good suprise! John Cena had an excellent match in which he upset Chris Jericho. Jeff Hardy retained his IC title in a short sloppy match with Willam Regal. Bubba & Spike Dudley won a fairly violent tables match over Benoit & Guerrero. Jamie Noble had a really good match with Kidman which was suprising to me. Booker T defeated The Big Show in a no dq match, at one point Booker T gave the scissors kick to Big Show and sent him right through the table. In a stupid decision by the WWE Christian and Lance Storm, the jealous anti-americans defeated Hogan and Edge with a lot of help from Test and Jericho. RVD and Brock had the match of the night it was filled with great high spots and RVD got to retain his ic title through a DQ so I was happy he kept the title. Triple H also signed with Eric Bischoff and Raw which means little to nothing. And in the main event the Rock became the first ever 7-time WWE world champion defeating both Kurt Angle & Undertaker in a triple threat match. Overall this is probably the WWE's 2nd best PPV of 2002! 7/10
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user\nFirstly let me say that I didn't like the fact that The Rock won the title that is so gay. Next I feel Regal should have got back his European title, Jeff Hardy is a crappy champ. Rob Van Dam had the Intercontinental title too long already Brock should have won it. I am pleased with Storm and Christian being tag champs, best match was the Booker T and Big Show match in my opinion.
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user\nSome people have stated that as of the 11th season, South Park has started a trend of leaving behind their politically biting satire for shallow spoofs; but this could not be further from the truth.
While this episode does spoof the Living Dead series, there is more. It is a satire of how people treat the homeless. Characters say things like \"They're pretending to be just like us\" or \"They want to be human.\" This episode attacks a culture of people who ignore the lower class who are often just down on their luck.
So yes, it is still a satire, and also a wonderful spoof. What more could you want?
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user\n\"Night of the Living Homeless\" was a fairly strong finish to the first half of Season 11. Obviously a parody of various zombie movies, most notably Dawn of the Dead, this episode parallels the homeless with the living dead, as creatures who feed and thrive off of spare change rather than brains.
Kyle is blamed for the sudden mass outbreak of homeless people when he, out of the goodness of his heart, gives a $20 to a homeless man in front of his house. More homeless people begin to infiltrate South Park, until the town is completely overrun with them. This is a very strong Randy Marsh episode, as he assumes the role of the shotgun-wielding leader of the adults who take refuge on the roof of the Park County Community Center. But before Randy makes it to the community center, he is accosted by hundreds of homeless people while hilariously screaming \"I don't have any change!!\" Unfortunately, the refugees end up losing Gerald Broflofski to the homeless, when he tries to escape by catching a bus out of town, and unwittingly tosses away all his change for the bus to distract the homeless people. Then he becomes one of them, asking everyone for change.
The boys attempt to find out why there are so many homeless people in South Park, and find a man who is a director of homeless studies. They find out that the nearby city of Evergreen used to have a similar problem with the homeless, so they escape to Evergreen to find out what they did to solve the problem. Unfortunately, homeless people break into the man's house, and he attempts to take the easy way out by shooting himself. However, he fails several times, as he shoots himself in the jaw, in the eye, in the chest, in the neck, in the shoulder, screaming horribly until he finally dies. This scene may have been funnier had a similar scene not happened in \"Fantastic Easter Special\" two weeks ago.
Meanwhile, a member of the refugees discovers that due to the homeless problem, the property values have nosedived, thus the bank has foreclosed on his house, making him homeless. Randy immediately turns on him, holding the gun to the man's head. When the man finally begs the others for a few bucks to help him out, Randy pulls the trigger.
In Evergreen, the boys find out that the citizens of the town sent the homeless to South Park, and that the passing of homeless from town to town happens all over the country. The boys modify a bus that leads the homeless out of South Park and takes them all the way to Santa Monica, California.
The zombie movie parallels and the great Randy Marsh lines make this one definitely re-watchable. 8/10
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user\nAnd yet another run of South Park comes to an end. This wasn't as strong an episode as I'd hoped for, but Night of the Living Homeless was a stronger finisher then Stanley's Cup, Tsst, Bloody Mary, or Erection Day. It still can't hold a candle to Woodland Critter Christmas and Goobacks, but few episodes can.
Night of the Living Homeless is a spoof of the zombie genre, done in a way only South Park would think of. Instead of flesh eating zombies, the entities are homeless that request change and seem to survive off of it.
Randy and other residents are locked in the Community Center, though this time on the roof, where they can survey the scene. A particularly funny moment is when one member finds out his home is gone, and becomes homeless, leaving Randy no choice but to shoot him.
Meanwhile, the four boys set out to solve the problem, with the whole story behind the homeless takeover trying to convey a message, but being seriously uninspired. South Park is at it's best a lot of the times when it is being ridiculous. Matt and Trey played it safe this week, and didn't really critique the homeless problem, just lampooned it.
The shock moment of the episode comes when a scientist shoots himself in an attempt to avoid the homeless. This is the first time a suicide on South Park goes wrong, and we watch the poor man miss his brain and then attempt to shoot himself many times while he painfully dies. Another inspired South Park moment.
Overall, the episode was funny, but it was kept from being great by withholding any real commentary on the homeless and sticking straight with the zombie shtick. The ending is somewhat funny, but nothing new.
Now we must wait until October for the next batch of episodes. It's a long haul, but South Park must be applauded for it's run. The show seemed to be running out of steam last season, but now it's back in full form.
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user\nI found this episode to be one of funniest I've seen in a long time. The south park creators have done the best spoof of a Romero film I have ever seen.They have truly touched on Romero's underlying social commentary that he has made with each one of his films. I would love to know what George Romero's opinion was on this episode I'm sure it was purely positive! Keeping his true vision for his zombie epics fully intact! Most spoofs deal with the pure gore without making the viewer think as Romero tries to do with his films. I think that if a zombie outbreak did happen we may actually worry about our property values before our lives as shown in this episode!
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user\nNight Of The Living Homeless is a funny spoof of the 1978 film(and the 2004 remake) of \"Dawn Of The Dead\".Only this time...with the homeless.The episode has homeless people all coming to South Park and the people cannot figure out why.They treat the homeless like zombies who want change and a few of the parents end up on the roof of a supermarket like in the movie.So now it's up to the boys to find out where they came from and how to get rid of them.This is a fairly funny episode with some good moments like the boys singing their own version of the 2pac/Dr.Dre song \"California Love\".Overall a good episode.
8/10
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user\nStylish, moody, innovative revenge-driven bloodbath. Also cheesy, of course, and sporadically very cheesy. It reminded me a lot of The Big Heat because it has the revenge plot set off by the exact same event, and the girl comes around to the good guy's side because of the same bad behavior by the bad guy. It's sad there's no Gloria Grahame but so fantastic that it's Alain Delon and not Glenn Ford. Could there be anyone as beautiful as Alain going around in a cashmere sweater and trenchcoat? Yet he's totally tough and icy cool. No one nowadays can touch him--though someone like Jude Law could try I guess. Hard for any girl to look good with him. The music was funky and perfect and there were several excellent car chases (and those aren't generally my cup of tea)--especially one willy nilly one in the woods. People also met their dooms in creative and bloody fashion, for instance in a junkyard cruncher. But beyond the cheese, the overall atmosphere was affecting and expertly pulled off. More creativity, excitement and freshness in that \"forgotten\" movie than most of what I've seen lately.
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user\nTony Arzenta, a Sicilian hit-man or professional killer, decides to leave the business, and his former employers do not agree.In terms of content, this highly enjoyable action movie doesn't have one; in terms of sheer amusement, it is funit is very melodramatic, violent, quite brutal, the car chases are notable. \"Arzenta\" is an unpretentious ,yet very likable filmmuch better than the current Hollywoodian trash that gets the same label. It comes from Delon's rather short flirting with the Italian B cinema of the '70s. It carefully uses Delon's tough guy persona, belonging to the gallery of bad-ass thugs that he made in his youth.
I enjoyed very much the fact that Delon made this film, that he had a role in a good Eurocrime flick.
The score is very fine, with a good introductory songmaking felt that gusto that the Italians had for the film considered as a synthetic work,where the musical art has an important part.
In Tony Arzenta/ Big Guns/ No Way Out the very appealing Erika Blanc (31 years in '73) appears as an unnamed hooker.Meanwhile, Arzenta's girlfriend, Sandra,is played by Carla Gravina (a starlet that practically left the movies after '75).
\"Arzenta\" is interestingly filmedan ambitious visual conception, some Expressionistic peculiar angles. The movie was directed by the prolific Duccio Tessari,the one who made also Zorro (the Delon comedy).Needless to mention that these two films,Tony Arzenta (1973) and Zorro ,are very unlike.The first one is a bloody melodramatic violent action movie--the second is a lighthearted comedy,more kindred to a spoof,though remarkably coherent and skilfully made.Duccio Tessari directed films like Kiss Kiss... Bang Bang (1966),Sons of Satan ,The Bloodstained Butterfly ,¡Viva La Muerte... Tua! ,Tough Guys (1974),Safari Express (1976) ,etc..
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user\nAlain Delon visits swift, sure vengeance on the ruthless crime family that employed him as a hit-man in the Duccio Tessari thriller \"Big Guns\" after they accidentally murder his wife and child. Tessari and scenarists Roberto Gandus, Ugo Liberatore of \"A Minute to Pray, a Second to Die,\" and Franco Verucci of \"Ring of Death\" take this actioneer about a career gunman for the mob right down to the wire. Indeed, \"Big Guns\" is rather predictable, but it still qualifies as solid entertainment with lots of savage and often sudden killings. Alain Delon of \"The Godson\" is appropriately laconic as he methodically deals out death to the heads of the mob families who refused to let him retire so that he could enjoy life with his young son and daughter. Richard Conte of \"The Godfather\" plays a Sicilian crime boss who wants to bury the hatchet with the Delon character, but the rest of his hard-nosed associates want the hit-man dead. Like most crime thrillers in the 1960s and 1970s, \"Big Guns\" subscribes to the cinematic morality that crime does not pay. Interestingly, the one man who has nothing to do with the murder of the wife and son of the hero survives while another betrays the hero with extreme prejudice. Tessari does not waste a second in this 90-minute shoot'em up. Apart from the mother and son dying in a car bomb meant for the father, the worst thing that takes place occurs in an automobile salvage yard when an associate of the hero is crushed in a junked car. Ostensibly, \"Big Guns\" is a rather bloodless outing, but it does have a high body count for a 1973 mobster melodrama. Only at the last minute does our protagonist let his guard down and so the contrived morality of an eye for an eye remains intact. Tessari stages a couple of decent car chases and the death of a don in a train traveling through a train tunnel is as bloody as this violent yarn gets. The photography and the compositions are excellent.
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user\nIcy and lethal ace hit-man Tony Arzenta (a divinely smooth and commanding performance by Alain Delon) wants to quit the assassination business, but the dangerous mobsters he works for won't let him. After his wife and child are killed, Arzenta declares open season on everyone responsible for their deaths. Director Duccio Tessari relates the absorbing story at a constant snappy pace, maintains a properly serious and no-nonsense tone throughout, stages the stirring shoot-outs and exciting car chases with considerable rip-snorting brio, and punctuates the narrative with jolting outbursts of explosive bloody violence. Delon's suave and charismatic presence adds extra class to the already engrossing proceedings. This film further benefits from sterling acting by a bang-up cast, with praiseworthy contributions by Richard Conte as wise Mafia kingpin Nick Gusto, Carla Gravini as Arzenta's supportive lady friend Sandra, Marc Porel as Arzenta's loyal pal Domenico Maggio, Anton Diffring as ruthless, calculating capo Grunwald, and Lino Troisi as the venomous gangster Rocco Cutitta. Silvano Ippoliti's glossy cinematography boasts several graceful pans. Gianni Ferrio's funky score hits the get-down groovy spot. Erika Blanc and Rosalba Neri pop up briefly in nifty bit parts. Better still, there's no filler to speak of and we even get a decent dab of tasty gratuitous female nudity. The startling conclusion packs a mean and lingering wallop right to the gut. A solid and satisfying winner.
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user\nAs one other IMDB reviewer has remarked, this movie starts a bit slow, but gets considerably better as it goes along. Yes, it is released by Roger Corman, and yes, it goes over some of the same thematic ground as much higher budget predecessors such as FATAL ATTRACTION and POISON IVY. However, the juxtapositioning of the wife's career as a rising blues singer against the husband's gathering loneliness and his almost Freudian need for filling the emotional and physical \"void\" or \"hole\" while she's away along with the clever use of minimal effects and settings is nicely done. Utilizing a very small number of locations and characters, and also using water in almost every scene both as a cleansing and drowning metaphorical symbol throughout, this movie, though clearly suffering from a minuscule budget, reminds me in many ways of the more fully realized and more recent scenario, namely the French film \"SWIMMING POOL\" which it seems to me at least may have borrowed liberally some useful ideas from \"UP AGAINST AMANDA.\" With a smaller tool set, UP AGAINST AMANDA maintains its suspense with a rudimentary, fatalistic view of surrendering to ones occasional lustful temptations, but accomplishes this as well or better as other films in this genre. The twist of the stepfather abuse of Amanda in the past (again, very Freudian) is also very unique in this genre and interesting. I agree with other viewers about the unexpected and sympathetic reaction for Amanda's plight this aspect of the story elicits. The cast is excellent I think.

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user\nI saw this movie when it first came out. It was an official selection for the Temecula Valley International Film Festival and I voted for it for best picture.
Justine Priestley is hot as the psychotic, but complex Amanda. This is not your ordinary psycho movie. Lots of interesting and original slants on the genre. Sort of a \"Fatal Attraction\" for the younger set with some great blues music mixed in as the object of Amanda's affection is married to an up and coming blues singer who has less time for her husband as her career takes off.

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