Cubussoli Very very predictable, including the post credit scene !!!

Lancoor A very feeble attempt at affirmatie action

SanEat A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

Leofwine_draca A spagwest classic and a combination of a LOT of talent both in front of and behind the camera, KEOMA stands true as one of the best spaghettis made in the 1970s and another feather in the hat of stylish director Enzo G. Castellari. Aside from the spectacular action which one comes to expect from a pro like Castellari, KEOMA offers an intelligent script, strongly-drawn characters and an intriguing story. Physically, the film is shot magnificently, mixing in sweeping vistas of lush plains with horses crossing them to painting a picture of a decayed and ruined town, full of fear, dirt and disease. Seeing this film in its original widescreen format is necessary to realise just how beautifully shot it is throughout. The dialogue is often snappy, with memorable one-liners and interesting character traits. Castellari takes us through the low points of pathos and tragedy to the high points of blazing justice and companionship and somehow keeps his film gripping throughout, even when nothing much is happening. This is all the more surprising when one knows of the pre-production chaos which resulted in a story being made up as it went along, with plentiful contributions from cast and crew members.Castellari regular Franco Nero is the bewigged Keoma, a supposed Indian half-breed. Nero puts in a typically strong performance, and is allowed to use his own voice to add to his portrayal of his layered character. Supporting cast members include old-timer William Berger, playing Nero's heroic dad, and Woody Strode in one of his finest parts as an alcoholic banjo-player subject to racism and hatred until Nero's presence returns him to his former fighting state. Olga Karlatos is the pregnant woman whom Nero rescues from certain death, whilst Donald O'Brien enjoys himself as the conniving chief villain. Genre vets like Giovanni Cianfriglia fill out the rest of the cast, and mention must go to the actors playing the three ambiguous half-brothers who are excellent.The film's only real flaw is with the wailing folk music, employing both shrill female vocals and Nero himself singing out-of-tune on the soundtrack! Sadly the music is far from the quality work of an Ennio Morricone score and extraordinarily irritating and/or grating in parts - the only detraction. Thankfully Castellari contributes some of his finest action ever directed, with plenty of slow motion deaths to behold, all amazingly crafted, and an extended fight sequence near the end of the film in which Nero, Berger, and Strode take on O'Brien's entire gang and very nearly beat the lot of them. This action features about a hundred bad guys getting wasted, including extra-cool points for Strode shooting men dead with his bow and arrow! Keep an eye out for the super-stylish auteur shots that Castellari includes, like the point-of-view shooting target and the four-finger victim count. With better music, this would have been a masterpiece; as it stands its only very good indeed.

Scott LeBrun Excellent stunts and use of slow motion mark this intelligent and absorbing Spaghetti Western directed by the versatile Enzo G. Castellari. Franco Nero stars in the title role, a half- breed who's served in the Civil War and who is now tired of killing. He returns to his home town to find a desert despot named Caldwell (Donald O'Brien) in control of things, and his resentful half brothers in league with the guy. He also buys trouble for himself when he takes pity on a pregnant woman named Lisa (Olga Karlatos) who is believed to be carrying a plague. Fortunately, Keoma has on his side his loving father (William Berger) and his fathers' former ranch hand George (Woody Strode), who's now a drunk.Castellari, who can always be depended upon to deliver a fun film, directs with his customary style. The cinematography, by Aiace Parolin, and scenery are beautiful. The characters, heroes and villains alike, are well portrayed. Nero is as charismatic as he's ever been, sporting a shoulder length wig and a full beard. The enchanting Ms. Karlatos of Lucio Fulcis' "Zombi 2" is a fine leading lady. O'Brien is the kind of bad guy you will enjoy booing. And the three men playing Keomas' siblings are solid as well: Orso Maria Guerrini, as Butch, Antonio Marsina, as Lenny, and Joshua Sinclair, as Sam. Berger and Nero are an appealing father-son combo, and Strode wonderfully plays a man to whom your heart just goes out. That makes it all the more enjoyable when later on he's kicking ass.The action is mostly confined to the last half hour or so, but is very well orchestrated. Castellari also creates a final confrontation that is genuinely suspenseful, and he gives it a unique feel when he lets the soundtrack become restricted to Lisas' moans while she gives birth. The viewer does feel the satisfaction of seeing Keoma do what he knows he will have to do.Based on a story by actor Luigi Montefiori, a.k.a. George Eastman, who also co-wrote the screenplay.Recommended to all fans of the genre.Eight out of 10.

JohnWelles "Keoma: The Avenger" (1976), is a Spaghetti Western directed by Enzo G. Castellari (who would late make the 1976 film "Inglorious Bastards", a film that Quentin Tarantino paid a large homage to in "Inglorious Basterds" [2008]) and stars genre stalwart Franco Nero. This film comes from the dying days of the genre, when it was in its protracted and some times painful decline. Only one or two more Spaghetti Westerns were made before it died, but this particular entry is among the best and can stand comparison with anything made in the 1960s. It is a great last hurrah, all the better for being resolutely un-nostalgic.The script is by Mino Roli, Nico Ducci, Luigi Montefiori, and Enzo Girolami; it covers familiar territory but in an unusual fashion: Half-breed Indian Keoma (Nero) returns, after the American Civil War, to his border hometown where he finds it under the control of an ex-Confederate raider called Caldwell (Donald O'Brien) and his gang. Keoma's three half-brothers have also united with Caldwell and want to make sure Keoma doesn't hang around.What distinguishes this banal storyline is the overt use of not just allegorical mysticism, but also borrowings from ancient Greek plays, such as the wandering Earth-mother character, which is splendidly played by Gabriella Giacobbe. This surprising if obvious use of symbolism coupled with apocalyptic imagery really makes the film standout in your memory.The direction from Castellari is highly efficient, and one of the best parts of the film. However, the frequent use of slow motion, while well done, is derivative of Sam Peckinpah, but without his mature understanding of violence. Here, it is just done for "cool" effect.The cast is exceptional in its bringing together icons of the genre, from Franco Nero, "Django" himself, to such great supporting actors as William Berger, Woody Strode and Donald O'Brien. All give performances perfectly suited to their roles and are almost reason enough to watch the film.On the debt side, unfortunately, is a fairly terrible score by Guido & Maurizio De Angelis, with some terrible singing (sounding like drunken amateur folk singers) punctuating the action like nails on a blackboard; ah well, you can't have it all, can you? Still, this is a hugely enjoyable late entry in the spaghetti Western oeuvre that I highly recommend.

ma-cortes An ex-soldier mestizo named Keoma (Franco Nero's long hair is a wig) helps a pregnant (Olga Karlatos) from cutthroats . Keoma (the word/name Keoma means freedom) returns to a small town after the Civil War . The ghastly village is ruled by violent outlaw gangs (led by Donald O'Brien) , along with the Keoma's three brothers . Half-breed Keoma is helped by an alcoholic old man (Woody Strode) and his adoptive father (William Berger). The bandits leader prohibits the inhabitants leave from damned little town besieged by pest .This twilight spaghetti Western packs a decrepit aesthetic , racist denounce and innovating scenarios set in Elios studios by designer production Carlo Simi , Sergio Leone's habitual . There is full of action in the movie , guaranteeing fist-play , stunts and shootouts every few minutes in Sam Peckimpah style . Franco Nero is cool , he bears a remarkable physical resemblance to JesusChrist , he helps a hapless pregnant and is crucified in a symbolic sequence . Interesting and thought-provoking screenplay by Luigi Montefiori or George Eastman who starred numerous Westerns . The plot of the film was mostly improvised same time the film was made , but director Enzo G. Castellari didn't like the original story . Because of problems with Schedule , they written script for next day every evening after filming of the day . It appears usual Spaghetti western secondaries, such as William Berger , Ken Wood, Robert Dell'Acqua and Ricardo Pizzuti . Sensitive , perceptible musical score by Guido and Maurizio De Angelis with an emotive atmosphere nearly to Bob Dylan and Leonard Cohen songs . The picture was well produced by Manolo Bolognini , usual Italian Western producer : 'Django¨, ¨Goodbye Texas¨ , ¨Boot Hill¨ , ¨Gunman of Ave Maria¨ and ¨California¨. Director Enzo G. Castellari has stated that out of all the films he has directed, Keoma is his personal favorite . Followed by a sequel titled 'Jonathan of the bears'(1994) again with Franco Nero and director Enzo G. Castellari, being shot in Russia and including notable reminiscences with 'Dances with wolves', but the film failed at box office . Keoma was the 'swang song 'of Spaghetti because made not much after and resulted to be the 'coup of grace' of Italian Western.