Walk Tall

Deputy Indian Agent is framed for the murder of a captured fur thief actually killed by his boss in rivalry for affections of a saloon girl.

The hero, Texas Ranger Larry Whalen, is on the trail of a mysterious outlaw leader.

Most of the scenes are laid in a parrot-and-monkey country in South America, a land where "it is always after dinner." The Llano Kid, a Texas bad man, flees there from justice. The consul persuades him to play the long-lost son of a Castilian family, and tattoos a coat of arms on the back of the Kid's hand to make the deception complete. The Kid is taken into the household, trusted and loved by the gladdened mother. For the first time he has a home. The romance develops. And when the time comes to rob and flee he has too much manhood to break the loving mother's heart. The surprise comes when it is revealed that the man the Kid killed in Texas was the real son.

A legendary Native American-hating Army captain nearing retirement in 1892 is given one last assignment: to escort a Cheyenne chief and his family through dangerous territory back to his Montana reservation.

Montana Marshals Gene and Scat are tracking some bank robbers. When the baddies cross into Canada, the Mounties are called upon to help.

In the autumn of 1900, outlaw Claude Barbee puts his 'retirement plan' in action, attempting to lead his train-robbing gang across Texas to recover a cash stash hidden after a botched railroad heist.

Led astray by outlaw leader Jess, the "outlaw's daughter" Kate joins Jess' gang and follows in her dad's footsteps. Town marshal Dan tries his best to reform the girl, but this proves difficult inasmuch as Kate holds Dan responsible for her father's death. Only after most of the bad guys have been decimated by Dan does Kate discover the true identity of her dad's murderer. Having fallen in love with Kate, marshal Dan offers to let her escape prosecution, but she's made of sterner stuff than that.

In order to help neighboring Indians irrigate their farms, the Hotshots plan to put on a fair for tourists. But first they need $2000 for an advertising campaign, and the only way they can get it is to borrow it from a wealthy local woman, who has made it clear that she won't give them the money until Hezzie marries her.

Queho, a Native American serial killer with a checkered past, takes out the people of a struggling mining town in the stark deserts of Nevada one by one, with the town deputy right on his tail.

Epic remake of a Native American film originally done 100 years ago about a Shoshone band who lived in a secluded valley in the 1860's, during the time of the last 'free' roaming Native Americans in the midst of the US Civil War. They are discovered by a group of Union soldiers and squatters and forced to move from their home. They are moved from valley to valley as the Union takes more and more of their land in a plan to eradicate the country of 'savages' exterminating all Native Americans. But there is hope when the band find a new beginning.

A turn-of-the-century investigator named Kate Bliss goes to the wide-open spaces of the wild west to capture a gang of outlaws led by a charming "Robin Hood of the plains," leading a band of dispossessed ranchers against a stuffy English land baron who has cheated them out of their property.

To fully appreciate the western comedy The Marshal's Daughter, one must be aware that its star, a zaftig, wide-eyed lass named Laurie Anders, was in 1953 a popular TV personality. A regular on The Ken Murray Show, Anders had risen to fame with the Southern-fried catchphrase "Ah love the wi-i-i-ide open spaces!" Striking while the iron was hot, the entrepreneurial Murray produced this inexpensive oater, which cast Anders as Laurie Dawson, the singing daughter of a U.S. marshal (Hoot Gibson). Teaming with her dad to capture outlaw Trigger Gans (Bob Duncan), Laurie briefly disguises herself as a masked bandit. Amidst much stock footage from earlier westerns and a plethora of lame jokes and dreadful puns, The Marshal's Daughter is a treat for trivia buffs, featuring such virile actors as Preston S. Foster, Johnny Mack Brown, Jimmy Wakely and Buddy Baer as "themselves."