A group of black American soldiers desert their ranks during the 1890s Spanish-American war, on account of a cruel and corrupt white colonel. Along with an ostracized white soldier they form a posse of outlaws and--with the colonel in pursuit--head to an all black town caught up in its own struggle against hostile neighboring whites.
An American adventurer travels to the South Seas, where he teaches natives modern agricultural methods and in exchange is treated as their king. Trouble soon arrives when white traders pay a visit to the island.
Carey (Granny Goose in later years) is the oil wildcatter, Akins is the heavy. Lots of wasted time in between the few moments of action. This was an introductory film in that it featured several performers heretofore unseen or only granted small roles. Under the direction of Martinson (PT-109 among others), they don't get much of an opportunity to strut their stuff. The script is a softie to begin with and has every idea about oil imaginable. The only problem is that the ideas were thought of long before this picture was made.
Four young nomadic toughs, led by Saxon and Stricklyn, terrorize a peaceful western town when they realize how easy it is for them to get away with their tricks. But Chandler, a one-armed Civil War hero, with the help of huge but gentle Torrey, puts a stop to the disruptive youths. In the process Chandler regains the courage drained from him with the loss of his arm. Although the performances here tend to be a bit exaggerated, director Pevney keeps them from going over the top. THE PLUNDERERS has been likened to THE WILD ONE (1954), but with a different setting.
A modern-day western follows a Midwestern sheriff's deputy on the trail of a murderer who killed a gold trader and sold the stash to Mexico. The crazy pursuit involves hostage taking, a Thunderbird, and a climactic encounter at the Grand Canyon.
The title was a turn-off, but the picture is a turn-on. Unless you knew that F/X was the way movie people refer to special effects, you might think that this was a Catholic film about St. Francis Xavier. It's not that at all. It's a crackling good thriller with lots of style, too much plot, and more than a few laughs. Brown is an ace special-effects man for hire in various New York movies. His fame is widespread; he specializes in such memorable pictures as ''I Dismember Mama'' and the like. The movie begins at what appears to be an assassination in a seafood restaurant as a mysterious man walks in and begins shooting up the place, sending scores of live lobsters out of their glass tanks and slithering madly across the floor. Soon we realize that it's just a movie and that the explosions were caused by tiny detonators simulating bullets. (According to the publicity, not one lobster was lost in the ''gag''--which is what they call the stunts--although many of them did pay the ultimate price by winding up as dinner for the cast and crew.) Brown is approached by smiling De Young, who identifies himself as a government agent working for the Justice Department. De Young wants to hire Brown for a most interesting task. The Department is about to get Mafia kingpin Orbach to testify against others of his family, but they fear that the canary may be knocked off before he has the chance to sing in court. To that end, De Young asks Brown to fake Orbach's murder, thus temporarily taking the heat off the honcho. When the time is ripe, Orbach will surface and spill his guts. Brown listens to the proposition but turns it down; he's a movie man, not a spy. De Young and his boss, Adams, are understanding. They'll hire a Brown competitor for the job. That hurts. The thought that anyone around even comes close to him in expertise sticks in Brown's craw. Putting his pride before his brains, he accepts the assignment.
Special effects expert Rollie Tyler comes out of retirement to help his girlfriend's ex-husband, a police officer, track down a psychopathic criminal, but after witnessing an officer's brutal murder he discovers that he's become entangled in an elaborate police double-cross.