Hellen I like the storyline of this show,it attract me so much

Lovesusti The Worst Film Ever

FirstWitch A movie that not only functions as a solid scarefest but a razor-sharp satire.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

MJB784 I didn't get what was so good about it. I thought it was silly and boring. The action scenes didn't have a clear tone for me. I liked Tom Selleck and the locations, but it reminded me of Two Mules For Sister Sara when Quigley was with the girl throughout. It was ok.

SnoopyStyle Sharpshooter Matt Quigley (Tom Selleck) travels from Wyoming to Western Australia hired by ranch baron Elliot Marston (Alan Rickman). He rescues Crazy Cora (Laura San Giacomo) from a bunch of rough men. She keeps calling him Roy. It turns out that the men work for Marston. Marston reveals that he needs Quigley to hunt down Aborigines which Quigley takes offense to. Quigley and Crazy Cora are left to die in the desert.This is an old fashion western out in the Australian outback. It's a bit too old fashion. Quigley is impossibly good especially for a gunslinger. What did he think he was going to do in Australia? For a man who shoots for a living, he objects to the job too quickly. He should at least shoot somebody first. Maybe Marston's men try to kill him for the gold in the Outback. Maybe he refuses to kill the children. These are the nuances this movie needs. Selleck is playing too much of a hero and too simple. He lacks the complex characteristics to filled the big screen.

zardoz-13 Emmy award winning "Lonesome Dove" director Simon Wincer teamed up with "Magnum, P.I." star Tom Selleck to make three westerns. "Quigley Down Under" was the first of their collaborations. "The Crossfire Trail" (2001) was their second western, and "Monte Walsh" was their third outing. These two sagebrushers were made-for-TV, while "Quigley Down Under" was a theatrical, big-screen release. This overrated but entertaining oater set in scenic Australia concerns a rugged Wyoming cowboy who is a crack shot with a Sharps lever-action Buffalo rifle. The eponymous protagonist has crossed the Pacific Ocean in a sailing ship to help a rancher eliminate predatory dogs gnawing away at his livestock. At least, this is what Quigley is led to believe when he shows up at the sprawling ranch of Elliot Marston (Alan Rickman of "Die Hard") who has hired him primarily to slaughter the native Indigenous Aborigines. As it turns out, Quigley (Tom Selleck of "The Shadow Riders") doesn't share Marston's racist sentiments. The two men tangle in a brawl on the first night that they meet,and Marston lets his men gang up on Quigley and beat him senseless. Although the setting is Australia, Wincer and "Heartbeeps" scenarist Joe Hill have appropriated every western cliché, so nothing really comes as a surprise in this predictable morality tale about good versus evil. An amiable if sometimes unsavory shoot'em up develops between Marston and Quigley. The body count goes into double-digits as Marston sends his men to kill Quigley. When our hero isn't swapping lead with the villains, Quigley gets involved in an amusing relationship with a prostitute named 'Crazy' Dora (Laura San Giacomo of "Suicide Kings") and she takes a shine to him. Indeed, she refers to him as Roy and this becomes a running joke throughout the action because they have never met. Basically, Quigley considers Dora an annoyance.Tom Selleck looks every inch the role of a frontiersman with his Buffalo Bill facial hair. Moreover, he decks himself out in chaps, suspenders, and a ten-gallon Stetson that virtually makes him look the spitting image of Steve McQueen from "Tom Horn." Mind you, "Quigley Down Under" surpasses "Tom Horn" because our hero is the sympathetic underdog who takes on an army of gunmen and never stops no matter what the odds. Instead of the U.S. Cavalry, Wincer gives up British redcoats riding Western Australian outback. Rather than redskins on the war path, we are given the equivalent: largely peaceful Aborigines. Marston's treatment of this ethnic group is nothing short of vicious. In one scene, Marston's riders drive several Aborigines to their deaths when they run them off a mountain cliff. The Aborigines die while Cora watches and Quigley loads up his long gun and begins picking off the riders. A furious Marston offers 50 pounds of gold to anybody who can take care of Quigley. Earlier, Marston's men had gotten the better of Quigley and had planned to deposit his unconscious body in the middle of the desert with Cora and let Mother Nature relieve them of Quigley. Our hero is far from dead when he is driven into the wilderness and awakens in the back of a wagon with Dora alongside him. Marston's men have brought along Quigley's rifle. According to Quigley, he can hit bull's eye from 900 yards out. Repeatedly, after Dora and he struggle to return to civilization, he must shoot two or three secondary villains."Mad Max" lenser David Eggsby captures the rugged splendor of the Australian outback. The most memorable thing about his Aussie oater is composer Basil Poledouris' fantastic score that has touches of Elmer Bernstein and Jerome Moross in its majestic theme. After a while, things get a little drawn out until the end when Marston's men get the drop on Mathew Quigley and it looks for certainty that he has met his match. Throughout "Quigley Down Under," Marston and Quigley argue about guns. Quigley prefers rifles while Marston fancies himself as a Western gunslinger. The only surprise occurs in the concluding showdown where Quigley demonstrates his speed and accuracy with a firearm other than his Sharps. Rickman excels as a treacherous villain who hates the Aborigines. "Quigley Down Under" qualifies as a fun western with some violent moments.

winner55 The low scoring of this movie at IMDb only reminds us: It wasn't the traditional Western that exhausted itself in the later 1960s/ early 1970s, it was the audience.This is an old-school traditional Western that happens to be set in Australia. The story, cinematography, music, pacing, characterizations, dialog, all are reminiscent of those we came to expect from Hawks, Hathaway, Sturgis. Yet there is no attempt to slavishly imitate the work of such past masters of the genre, but to add to the genre using a cinema vocabulary they would easily have recognized and appreciated.It's quite alright to say, 'traditional Westerns are not my cup or tea,' but it is not appropriate to slam a genre film for being true to its genre. And this sweeping adventure story is so true to its genre, if one didn't know when this was made or who these actors were, one could easily think it a product of the late 1950s or early 1960s, the last golden age of the traditional Western, the era of Rio Bravo, the Magnificent Seven, The Sons of Katie Elder, The River of No Return. While not strictly realistic, it presents a world that is three dimensionally realized - The heat is real, the wind is real, the old houses look like they've been standing for years, the people inhabiting this world are flesh and blood.One can easily imagine John Wayne speaking Tom Selleck's lines, but Selleck does an admirable job speaking them, and finds his own voice doing so. The rest of the cast is excellent as well. Since this is a traditional Western, some of the actors are stuck playing stereotypes, but as did their '50s-'60s counterparts, they work hard to bring these alive, to add the quirks that give them individuality, enough so to move the story along in fine dramatic fashion.And I think it a fine genre story, filled with wonder, suspense, thrills, drama, romance, humor. Pretty much the 'complete package' we came to expect Westerns to deliver back in their last golden age.We often say, "they don't make them like they used to." Well, here! They did it! They made one like they used to! Instead of complaining we should celebrate.