Grimerlana Plenty to Like, Plenty to Dislike

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

Anoushka Slater While it doesn't offer any answers, it both thrills and makes you think.

adrianswingler I watched this wondering about Keoma Rises and am a fan of the director's work. I love any Spaghetti Western that is better than mediocre. So, bottom line, it was a disappointment to watch one that I basically just didn't like.I think we all agree the soundtrack is awful. But the awful songs can be muted while they're wailing away (I don't know one can really call it singing). But the big problem for me was that it was obvious that the director had been told it was the last SW the studio was doing and he's WAY too conscious of that fact. Also, we watch SWs for what they are, not for how they inspired other genres, creating some kind of weird cinematic echo chamber. Elements of Peckinpaugh and Hong Kong action flicks- but not integrated in any way. Just kind of, "Let's do some of that..."If you notice the firearms and the year it'll drive you nuts. Obviously supposed to be circa 1870, mostly it's what you'd expect to see immediately after the Civil War. But it's like they ran out of period arms and just grabbed whatever else was around for some scenes. Lots of 1873 Winchester rifles and I thought even saw the odd 1890's model. Ditto the Colt Peacemaker, alongside your standard issue Civil War Colt. I suppose it could be 1874, but were those arms instantly available everywhere??? Given the rest, one thinks they weren't too concerned about it.Bottom line for me, it was a seriously misguided attempt that is waaaay too conscious of its being what it is, the swan song of the classic pasta western.

Woodyanders Half-breed Keoma (the almighty Franco Nero in peak rugged and soulful form) is tired of eking out a living by killing people. So he decides to return to his childhood home. However, Keoma soon finds himself caught up in a fierce dispute between innocent settlers, a band of sadistic bandits, and his own hateful and vengeful half-brothers. Director Enzo G. Castellari, who also co-wrote the compact and complex script with George Eastman, Nico Ducci, and Mino Roli, relates the engrossing philosophical story at a hypnotic gradual pace, does a masterful job of crafting a potently gloomy mood rife with despair and desolation, maintains a dark grim tone throughout, stages the exciting shoot-outs with consummate skill and incendiary flair to spare (the striking use of strenuous slow motion in particular seriously smokes), presents a stark and startling portrait of a brutal lawless town, and tops everything off with a wonderfully peculiar existential sensibility that offers a provocative examination on the themes of life, death, and fate. The excellent acting by the top-rate cast keeps the movie on track: William Berger as Keoma's wise and tolerant father William Shannon, Olga Karlatos as sweet and caring pregnant lady Lisa, Donald O'Brien as the ruthless Caldwell, Gabriella Giacobbe as a sinister prophet of doom, and Orso Maria Guerrini, Antonio Marsini, and Joshua Sinclair as Keoma's resentful siblings. The always welcome Woody Strode has a nice role as Keoma's faithful old buddy George. Aiace Parolin's picturesque cinematography provides an appropriately dusty'n'dingy look. The quirky and operatic, but still harmonic score by Guido and Mairizio De Angelis for the most part works, although the overwrought warbling by the female singer is a bit much at times. Punctuated with jolting outbursts of savage violence and further enhanced by a singularly brooding sober atmosphere as well as a poignant "you can't go home" central message, this one rates highly as one of the most unusual and distinctive Italian Westerns made in the 70's.

MartinHafer unbelievably bad singing Woody Strode Rarely have I ever heard worse music in a film--and I have reviewed well over 14,000 movies! Without a doubt, the woman who sings during "Keoma" is a talentless individual who is best doing ANYTHING other than sing! Yoko Ono or my dog would have done a better job than this lady--her ever-present screeching is just awful and made me hate this picture.As for the story (though I wouldn't bother if I were you) is about a guy named Keoma (Franco Nero) whose father is white and mother an American Indian. Because of this, he is ostracized and treated like crap--even by his own half-brothers. In fact, later when he enters a town being destroyed by an evil gang, his three siblings are among the gang--and he must decide whether to fight them or just let injustice reign in this crappy old town.The story is only adequate at best---and not good enough to overcome the wretched, soul-destroying music. Pleas, for the love of God, don't watch this film unless you are deaf!

merklekranz By (1976) when "Keoma" appeared on the scene, the "spaghetti western" had clearly become an exhausted genre. "Keoma" adds absolutely nothing new or unique. It is simply a failed attempt at style covering up zero substance, and little more than a patchwork of worn out clichés. The slow motion killings are derivative and redundant. There is minimal character development. The musical score is a wailing mess. Already in it's death throws, "Keoma" definitely nails the "spaghtetti western" coffin shut. If you want to see a very good non-Sergio Leone western, "The Big Gundown" would be an excellent choice. Just be sure to avoid "Keoma", because it offers nothing new, is not entertaining, and clearly is the end of the "spaghetti western" line. - MERK