Hondo (1953)

I chose this from my YouTube list partly for its short runtime, 84 minutes. Imagine my surprise to see "Intermission" about halfway through. No, there's no several-minute segment for music, much as I like the John Williams-esque scoring.

In an unspecified Old West setting, unhorsed, somewhat notorious soldier Hondo Lane (John Wayne) arrives at a remote homestead to fuel up and buy a horse. He meets Angie Low (Geraldine Page) and her young son, Johnny (Lee Aaker), but not her long-absent and unaccounted-for husband, Ed (Leo Gordon). Hondo warns that local Apaches are gearing up for war on the frontiersmen. Angie feels confident that if a recent treaty doesn't dissuade the Apaches from attacking her, her benevolent past will, but Hondo wisely disagrees. He keeps a close watch, gradually hoping to fill the void Ed left behind.

Poor Things (2023)

I've wanted to see this since I caught a few clips at the Academy Awards. My desire decreased when I learned that Yorgos Lanthimos directed. Nonetheless, almost as soon as it came to Netflix, I obliged.

In 19th-century London, heavily pregnant Victoria Blessington (Emma Stone) commits suicide. Victor Frankenstein-like Dr. Godwin Baxter (Willem Dafoe) could simply revive her, but seeing little sense in bringing back a suicidal mind, he transplants her baby's brain into her head first. When he asks med student Max McCandles (Ramy Youssef) to help document the behavior of this "Bella Baxter," she can barely talk or balance, but she's learning fast. Eventually, Godwin talks Max into proposing to Bella. She accepts, but since Godwin would still require her to stay on his property all the time, she first runs off on an adventure with Europe-traveling lothario Duncan Wedderburn (Mark Ruffalo). Neither she nor Duncan knows what they're getting into.

How the West Was Won (1962)

I'd seen this title many times over the years, thanks primarily to its all-star cast. For a profitable epic, it's had a pretty middling reception on rating sites, but it did net some Academy Awards. I chose to watch it not long after my last John Wayne western because I knew no better way to kill 164 minutes last night.

No other western I know takes place over such a long period. It's divided into five chapters, spanning from 1839 to 1889. The focus is on the westward-moving Prescott family, including but not limited to patriarch Zebulon (Karl Malden), matriarch Rebecca (Agnes Moorehead), and daughters Eve (Carroll Baker) and Lilith (Debbie Reynolds). Eve takes a shine to wandering fur trader Linus Rawlings (James Stewart), while Lilith falls for gambler Cleve van Valen (Gregory Peck). Their lives are partly affected by the California Gold Rush, the War Between the States, and other armed conflicts.

Frankenstein (2025)

When I learned that I hadn't seen any of the Academy Best Picture nominees for the year, I chose the first one I could find. Ordinarily, I save arguable horror movies for October. I say "arguable" because Wikipedia characterizes it as "Gothic science fiction drama." That's fair enough.

The movie begins near the end, when 19th-century Danish sailors find a nearly dead Victor Frankenstein (Oscar Isaac) in the Arctic and try to protect him from his raging creation (Jacob Elordi). In the captain's cabin, Victor tells Captain Andersen (Lars Mikkelsen) the first half of the story. Then the creature shows up and takes the narration from there. In the small chance you don't know the gist, Victor stitched together parts from different corpses and brought the gestalt to life but didn't raise him properly, leaving him put upon by society and violently resentful.

Bram Stoker's Dracula (1992)

A quarter century ago, I saw the second half of this thanks to my roommate. I felt like I'd seen enough, but more recently, I've wanted the complete picture. It was one of the most popular Netflix horror offerings I hadn't seen in full and one of the last influential and arguably great works of Francis Ford Coppola, with only The Rainmaker for competition since.

Toward the end of the 19th century, the Romanian count (Gary Oldman) gets help from suspicious English lawyer Jonathan Harker (Keanu Reeves) to move to England. Dracula sees a picture of Harker's fiancée, Wilhelmina Murray (Winona Ryder), and is strongly reminded of his own bygone wife. He sees fit to let his harem restrain Harker by exsanguination while he goes off to court Mina, in addition to satisfying his infamous other appetite. When Mina's friend Lucy Westenra (Sadie Frost) exhibits strange physical and mental symptoms, fiancé Arthur Holmwood (Cary Elwes) reluctantly turns to the expertise of Professor Abraham Van Helsing (Anthony Hopkins), who quickly determines the cause....

White Fang (2018)

This French-produced animation has more modest ratings than I usually go for, but it seemed my best bet for getting acquainted with another Jack London classic. The 1991 adaptation isn't as popular, and I wasn't likely to make time for the book. If nothing else, the Netflix cover image promised a cute puppy.

The pup lives in the 1890s Alaskan wild with his stray wolf-dog mother, until desperation drives her back to her owner, Grey Beaver (Eddie Spears), from an unspecified tribe. GB dubs the pup White Fang and raises him to lead a sled team. When the tribe's land is set to be sold out from under them because of the Klondike Gold Rush, GB sees little choice but to sell now-adult WF to shady Beauty Smith (Paul Giamatti), who makes a lot of money in dog fighting. Marshal Wheedon Scott (Nick Offerman) puts an end to that, and he and his wife (Rashida Jones), despite their fear, do right by WF. But Beauty and his thuggish comrades (Armando Riesco and Dave Boat) aren't finished with Wheedon or WF....

The Ballad of Buster Scruggs (2018)

I liked the Coen Brothers' remake of True Grit, tho I later learned to prefer the original. This other western has sat on my list for a while; I hesitated because it's only moderately popular and these guys are a gamble to me. Kind of an ugly title, too. But the continuing use of the "First time?" meme increased my curiosity.

Buster (Tim Blake Nelson) actually doesn't appear for long, because this is an anthology of six stories, each with completely different characters and actors (among them Liam Neeson, Tom Waits, James Franco, Stephen Root, Clancy Brown, Tyne Daly, and Brendan Gleeson). Two of them are based on literary short stories. The others seem to pay more homage to movies. Apart from the Old West setting, the main unifying theme is death.

Rio Grande (1950)

It is by sheer accident that I have watched all of John Ford's Cavalry Trilogy in chronological order, the first two entries being Fort Apache (which I didn't review for some reason) and She Wore a Yellow Ribbon (which I remember better than I predicted). I also didn't intend to watch two Victor McLaglen movies in a row, but oh well.

In 1879, Lt Col. Kirby Yorke (John Wayne), owing largely to military obligations, has not seen his wife, Kathleen (Maureen O'Hara), or their son, Jeff (Claude Jarman, Jr.), since the Valley campaigns of 1864. Then they both show up at his Texas fort at once -- Jeff to serve as a trooper and Kathleen to try to get him out of it. This is not an ideal environment for a reunion, especially when the regiment has to defend settlers from a string of Apache raids.

The Hateful Eight (2015)

I previously mentioned my friend's interest in this movie. He had seen the first maybe half of it before. Now he would know that it wasn't all predictable from there.

In an 1877 Wyoming blizzard, former Union soldier Major Marquis Warren (Samuel L. Jackson) hitches a ride on the stagecoach of fellow bounty hunter John Ruth (Kurt Russell) and John's captive, Daisy Domergue (Jennifer Jason Leigh), toward the nearest town to collect rewards. Chris Mannix (Walton Goggins), who claims to be the town's imminent sheriff, joins later. They and their driver, O.B. Jackson (James Parks), seek shelter at a haberdashery already occupied by Señor Bob (Demián Bichir), Oswaldo Mobray (Tim Roth), Joe Gage (Michael Madsen), and former Confederate General Sanford Smithers (Bruce Dern). Marquis smells something fishy, and John is sure that at least one man there plans to either help Daisy escape or claim the bounty himself.

The Harder They Fall (2021)

I would not have thought to see this if my friend hadn't asked to while visiting. I'm not sure I'd even heard about it before, despite a few familiar names involved (he knew the cast better). Some rating sites score it highly; others deem it fair to middling. At worst, we could enjoy snarking together, but we both hoped it wouldn't come to that primarily.

On-screen text warns up front that the story is fictitious, but the main characters -- seven of them, at least -- are not. The lead is Nat Love (Jonathan Majors), a late-19th-century outlaw who makes a point to target fellow outlaws, as by robbing robbers. Marshal Bass Reeves (Delroy Lindo) ostensibly arrests him but means to enlist his help against a mutual foe: Rufus Buck (Idris Elba), who had killed Nat's parents in front of preteen Nat and carved a cross on his forehead. Buck has just been released, and while his intentions for the town of Redwood might be honorable, he will stop at nothing to acquire the money to fix it up, even at the citizens' expense.

Little Lord Fauntleroy (1921)

Since Netflix announced that DVD service will discontinue in September, I've decided to prioritize what's unlikely to stream. In this case, it also turned out to remind me what I won't miss about DVDs: Sometimes they freeze and skip. Thankfully, I didn't miss anything important.

In 1880s New York City, preadolescent Cedric (Mary Pickford!) has no idea who his dead father was until he becomes next in line for an earldom. He's not happy to have to leave his friends or his dream of becoming president, and he's been led to believe that British nobles are rotten. His grandfather (Claude Gillingwater) isn't happy either, because he hates Americans too much to greet Cedric's mother (also Mary Pickford!), who must live in a separate building he owns. Nevertheless, Cedric charms the old curmudgeon and his servants, enabling much-needed generosity to the poor in his domain. But there arises a question of whether someone else actually ranks ahead of Cedric and, if so, where he should live....

Dodge City (1939)

The year after The Adventures of Robin Hood, Warner Bros. wanted another Technicolor picture directed by Michael Curtiz and starring Errol Flynn and Olivia de Havilland. But to call it a companion piece or a spiritual successor would be a stretch. Flynn, at least, had never done a western before, nor had he practiced much with an accent appropriate for one. Nevertheless, the formula intrigued me.

Wade Hatton (Flynn), a cowhand and comrade of Col. Grenville M. Dodge (Henry O'Neill), visits the young namesake town for the first time in years, partly to escort westward settlers, including Abbie Irving (de Havilland). Little did he know that the gang of Jeff Surrett (Bruce Cabot) effectively runs the place. It takes a few tragic violent crimes to convince Wade to put on a sheriff badge and deputize his buddies, Rusty (Alan Hale) and Tex (Guinn "Big Boy Williams"), aware that things didn't work out for the last few guys who tried it. (Ann Sheridan gets third billing, but her character does little more than sing and dance on a stage.)

The Tin Drum (1979)

I picked a war flick for Veterans Day, but it wasn't the best choice. The protagonist isn't a soldier, and the soldiers we see don't exactly look good to us. You'll understand why in a moment.

On his third birthday, Oskar (David Bennent, actual age 11 at the time) deliberately injures himself in a way that prevents him from growing physically anymore, which ensures that people never treat him as fully adult. That premise alone can be pretty disturbing, but it's also set in Nazi-occupied Poland. His own family sometimes supports the invaders, tho they learn better eventually.

She Wore a Yellow Ribbon (1949)

Ah, my first western viewing this calendar year. The timing felt right to me, since I was getting tired of foreign and indie flicks.

Shortly after Custer's Last Stand, Frontier Army Captain Brittles (John Wayne) is six days away from retirement. On screen, that can only mean that something eventful is going to happen first. Specifically, he receives orders to escort the commanding officer's wife, Abby (Mildred Natwick), and niece, Olivia (Joanne Dru), to a coach heading back east. Since several tribes are on the verge of war against the cavalry, this mission will require a larger party than usual.

Triple Feature: Smallfoot (2018), Missing Link (2019), Abominable (2019)

When I realized that I could watch all three of these dueling movies on one flight, I couldn't resist. They all came out within a year of each other and are animated adventure comedies involving humans who discover that bigfeet of some sort not only exist but are hardly monsters. Now I would know my personal preference among them.

Hamilton (2020)

For all the popularity of the Broadway musical, I was reluctant to check it out. Anachronistic music and blatant racial/ethnic inaccuracy in a story based on true events seemed like punchlines, yet it was clearly not played primarily for laughs. Weirdness without humor is often off-putting. Then I remembered liking Jesus Christ Superstar and decided I had no excuse.

This is not really an adaptation of the play but a screening of a 2016 production thereof, complete with the sounds of a then-live audience. It covers a period roughly from the first time Alexander Hamilton (Lin-Manuel Miranda, who also wrote and composed it) met Aaron Burr (Leslie Odom, Jr.) to, well, the last time. You should already know what that means. If you badly need an early U.S. history lesson, let's just say for now that he helped George Washington (Christopher Jackson) in the Revolutionary War and became Secretary of the Treasury.

The Cowboys (1972)

I hadn't meant to watch this so soon after my last '70s western. But when I read the Netflix jacket, the timing seemed vaguely appropriate: chasing a controversial western that John Wayne hated with Wayne's most controversial western from late in his career.

The title may sound generic for the genre, but the emphasis is on the last syllable: In the 1870s, when gold fever has taken all the usual local candidates for drovers out of the running, Wil Andersen (Wayne) resorts to recruiting 11 boys no older than 15 to help him drive cattle 400 miles. Yes, their parents approve. The only other adult on the journey is the cook, Jeb Nightlinger (Roscoe Lee Browne). Some other adults do offer their services, but Andersen rejects them for their initial dishonesty regarding their background. Those men, led by one Asa Watts (Bruce Dern in a well-done yet surprisingly reviled role), decide to stalk the party in the hope of rustling.

High Plains Drifter (1973)

Sometimes a movie sounds interesting based on negative reviews -- by virtue of highly contrary criticisms rather than extreme ones per se. In this case, some say it's too derivative, yet John Wayne refused to work with Clint Eastwood afterward because it's too far removed from traditional westerns. I was not aware of these opinions when I chose to watch; I just knew it was popular overall. In retrospect, neither opinion surprises me. It was an era for experimentation, after all.

The new frontier mining town of Lago is worried about what three outlaws who just finished serving time will do when they return. A mysterious sharpshooter (Eastwood) holds promise for dealing with them, but he acts uninterested in sticking around, until the local authorities agree to give him whatever he wants -- and coerce their neighbors to follow suit. His demands, including literally painting the town red, get increasingly outrageous, to the point that some citizens would rather take their chances without him. But even with his guidance, they're all clearly incompetent shots....

Swiss Family Robinson (1960)

Another family feature already, because I hadn't arranged my queue with care in that regard. Anyway, I chose this more for title recognition than any other reason, knowing only that it was a live-action Disney movie tied to a book in the Robinson Crusoe subgenre. Subsequent research told me that it takes even more license than usual for Disney, including dropping "The" from the title for some reason. Oh well. It may not help kids cheat on an English test, but at least it's pretty popular in its own right.

During the Napoleonic Wars, between the threat of pirates and a raging storm, a crew abandons a ship bound for colonial New Guinea without warning its five passengers below deck, who find out only when they become castaways. Mercifully, the nearest island, while uncharted, is quite lush, and the wrecked ship still has plenty of useful elements. Over the course of maybe months, the family contends with the forces of nature and, ultimately, the same pirates. They also face some internal conflicts, such as one on the Lord of the Flies-type question of how much effort to put into signaling for a rescue.

The Outlaw Josey Wales (1976)

Hmm, only three months since my last western and five since my last serious one. But this is a bit rarer: a serious western from the late '70s. Well, Clint Eastwood never was one for comedy.

After Union guerrillas under Captain Terrill (Bill McKinney) murder the wife and son of Missouri civilian Josey (Eastwood), he joins a Confederate bushwhacker gang. They become among the last postwar holdouts, until most of them pursue a promise of amnesty that turns out to be a lethal trap, care of Terrill. Josey, of course, is too badass to go down that easy, so a massive manhunt ensues.