
“Better no cowgirls at all than cowgirls compromised.”
Richard Donner’s MAVERICK was obviously the big western type movie of May 20th, 1994. I didn’t see it. I did see the goofy indie cowgirl comedy that flopped and got terrible reviews. Gus Van Sant’s EVEN COWGIRLS GET THE BLUES, from the novel by Tom Robbins (who narrates the movie), was considered a huge debacle at the time. I remembered very little except that I kind of liked it. Thirty years later it wasn’t really what I remembered, but I found it actually pretty delightful.
It stars Uma Thurman very close to PULP FICTION, which came out in the Fall. It’s one of her early lead roles, and she actually gets the rare “IN” credit:

As you can see the title fills up the screen, so going by my TO LIVE AND DIE IN L.A. rule you know this is gonna be a good one. (read the rest of this shit…)

Albert Johnson (Charles Motherfuckin Bronson) is a trapper drifting through snowy 1931 Canada when he happens to come across some assholes betting on dog fights. One of the dogs is injured and apparently Albert loves animals (when he’s not trapping them) so he takes the dog at gunpoint. In order to smooth things over he gives the owner $200, but just to be clear he’s not negotiating. He’s taking the dog. It’s just like a convenience charge or a dogfight interruption processing fee or something like that. The owner of the dog is Ed Lauter, so this whole incident must be why they don’t seem to like each other in
The ’64 version of THE KILLERS doesn’t have much to do with the original and even less to do with the Hemingway story. And maybe it’s not quite the solid punch to the nose you’d hope for from the combination of Lee Marvin, Don Siegel and that title. But on the other hand it might be some kind of subtle dim mak punch because it stuck with me and seemed better and better the more I thought about it. Anyway, it’s damn good.
This is a nice little 1967 action picture starring Lee Marvin and directed by John Boorman, the sick fuck who made the movie deliverance I think you know what I’m talking about, oink oink.

















