Hell On the Border (2019)
Hell On the Border
”A black deputy marshal goes after a lethal outlaw in Indian Territory in 1875 Arkansas.”
Available at home
Subscription
Rent or Buy
&plat_logo=https://media.filmelier.com/images/plataformas/icone_mobile/365599cc6c68bb404af36411d40a866c.png&link=https%3A%2F%2Fitunes.apple.com%2Fus%2Fmovie%2Fhell-on-the-border%2Fid1490222697%3Fat%3D1000loWU "Apple TV (iTunes)")
Trailer
Why watch this film?
"Hell on the Border" brings a salad of elements to justify its existence. It has a subplot about strong racism in the 19th century United States, a story of overcoming, long action scenes, bucolic environments and detestable characters. Maybe if director Wes Miller (from the forgettable "River Runs Red") had focused only on essential elements, it would have been a better movie. Still, it could be an interesting feature. Fans of classic westerns will find an intense pursuit atmosphere, heavily based on the racial issue, as well as entertaining performances by Ron Perlman ("Hellboy") and Frank Grillo ("Captain America: Civil War"). It's not perfect. But it can serve as an unpretentious fun for those who like the genre.
Filmelier
Our suggestions
Plot summary
Arkansas, 1875, After shooting 5 men to save a judge and then going into Indian Territory after a lethal outlaw, Bass Reeves becomes the first black deputy marshal west of Mississippi.
To share
Do you want to watch something different?
Watch full movies now!
Press play and be surprised!
Where to watch?
Available at home
From the same director
River Runs Red
With an action-packed 1980s vibe, 'River Runs Red' is one of those trashy productions of the genre. The makeup isn't very well done, the script is full of holes and John Cusack's (‘2012’) and Taye Diggs' (‘Chicago’) performances are totally on autopilot. Still, director Wes Miller (of the recent ‘Borderland’) manages to recover from these damages and use the problems to his advantage. After all, 'River Runs Red' is one of those movies that knows its limitations and plays with it, generating a free, light and loose fun. For this, however, the audience must embark on the idea and not care about these flaws that pop up throughout the 94 minutes of duration. Without a doubt, it will be a simple entertainment, not very memorable, but that can serve to pass the time and perhaps get excited.
Adventure
The Book of Clarence
Biblical epics in the style of Ben-Hur are so recognizable in classic cinema that they have been the subject of witty parodies (most notably, the also classic Monty Python's Life of Brian). Here, director Jeymes Samuel (The Harder They Fall) filters the conventions of these films through a black lens, with a cast led by names like Lakeith Stanfield, Alfre Woodard, David Oyelowo, Omar Sy, and Anna Diop, among others. The Book of Clarence follows a man who, aspiring to be someone in life, decides to capitalize on the popularity of Jesus of Nazareth for his own benefit. Through the biblical cliché, the film examines issues such as black identity, the distortion of faith by organized religions, and the very sense of goodness and compassion. It's somewhat uneven but nonetheless entertaining.
Metalocalypse: Army of the Doomstar
After the heroic rescue of Toki Wartooth, DETHKLOK frontman Nathan Explosion finds himself traumatized in a BRUTAL professional and romantic flat-spin all while he is tasked with fulfilling the prophecy and confronting the ultimate songwriting challenge: write the SONG OF SALVATION and save the planet. Can Nathan Explosion look beyond his brutally damaged ego to save his band, stop the Metalocalypse, and finally face the ultimate evil: Salacia?
Richard: The Stork
A charming animation full of adventure and vibrant colors in a story about leadership and maturity. The film tells the story of Richard, a brave sparrow adopted by a family of storks, and his journey to find a lost jewel while leading a group of oppressed birds. The sequel maintains the essence of the original, while exploring themes of friendship and self-knowledge, with valuable lessons reminiscent of Disney classics.
Ghostbusters: Frozen Empire
The third official installment in the Ghostbusters saga, Ghostbusters: Afterlife, was a sequel that worked due to its nostalgic and self-referential spirit: it acknowledged the passage of time and the separation of the original group (in front of and behind the cameras), paying homage and passing the torch to a new generation. The sequel seems to throw all that out the window. Ghostbusters: Frozen Empire continues the story of Phoebe Spengler (Mckenna Grace) and her family as the new Ghostbusters, back in New York to fight the paranormal. However, gradually, subplots involving new characters (Kumail Nanjiani is one of the best) as well as others already introduced in the new generation begin to emerge, but there's also a return of almost all the classic characters. The result is an unnecessarily complicated web of subplots and an overload of characters, which ends up diluting the impact of the film's most fun and emotional ideas. It's not a disaster, but it definitely would have worked better if it had embraced the innovative spirit of its predecessor to let go of the past.
