Jeanskynebu the audience applauded

Claysaba Excellent, Without a doubt!!

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Brenda The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Edgar Allan Pooh . . . the ways. First off, "Dan" is Bess' dad and John's foster pops. That makes John's Canoodling with Bess some sort of incest (but probably just a mild case, by Red Nape Standards). Second, John and Bess fall in love with each other while John is firm in the sincere belief that he himself blew Dan's brains out awhile back. (But Bess later eagerly surrenders her Virtue to the thug who actually DID do in Dear Old Dad, as this sort of Patricide-by-Sexual-Proxy seems to be a major plot requirement for Early Westerns.) Third, the downfall of Joe Blow's Crime Empire comes when the Martin Brothers pass two stolen ONE dollar bills from a random heist months earlier to pay their cover charge for the Annual Halloween Dance & Milking Contest, which indicates that the Police State of Texas has always monitored the exchange of all cash down to the last buck far more carefully than it follows the swapping, selling, or gifting of military assault rifles capable of gunning down at least 102 civilians even when the lone shooter is surrounded by platoons of heavily-armed S.W.A.T. cops.

utgard14 John Wayne plays a sheriff who mistakenly believes he killed his best friend. So he turns in his badge and goes to live in the woods. A year later the dead friend's citified daughter shows up. Wayne has to rescue her and she offers him a job as foreman on the ranch she inherited from her father. Romance follows but not without some troubles. Eventually Wayne finds out who really killed his pal and straps on his guns to get justice. In many ways this is a routine B western, the type Duke made plenty of early in his career. The plot elements and even some of the stunts seem familiar to other Wayne oaters I've seen from the period. But there are some interesting things I haven't seem before. John Wayne being broody, for one thing. At one point we see him with a beard and trying to look disheveled. Kind of funny. Gabby Hayes is also in this but without the grizzled old-timer shtick we all love. It's enjoyable enough for the type of unchallenging movie it is. I think these were mostly aimed at kids back in the day so don't expect anything deep.

Robert J. Maxwell No need to spend much time deconstructing "Texas Terror." This was the depths of the Great Depression and John Wayne was lucky to find any work at all, even at Monogram. These things were turned out with blinding speed. I think there may have been a two-year period in which Wayne starred in eight of these poverty-row features.He isn't really "John Wayne" yet. He's tall, handsome, slender, slow, and graceful but doesn't project the indomitable and bulky masculinity of his later years. And he hasn't yet learned to reserve his strength. He throws his lines out as if proud to have memorized them.The girl in the picture seems to have less talent than Wayne. The smoothest performance is from George Hayes who hadn't become the caricature of "Gabby". He seems like the only seasoned performer in the cast.He's not, though. Yakima Canutt and gang did the stunts and they were very good riders. And the photographers included Archie Stout who was to win an Oscar for Wayne's "The Quiet Man" in 1952.The writers didn't need to spend much time on the script because the few words we hear are strictly functional, uttered only in order to advance the plot. Audio title cards."Seen anything of young Higgins lately?""Waal, he was in town to cash a few nuggets last week. Ridin' around with a heavy heart. Turned into a desert rat, you know."The story is perfunctory. Wayne blames himself for the death of an old friend during a hold up and, in part to redeem himself, helps his friend's newly arrived daughter to get the ranch up on its feet, ensnare the villains, and marries her. The stagecoach is a Model T Ford. There's a modern telephone. Lucille Brown wears 1935 clothes. But what do you expect?

John W Chance Almost all of the 'Lone Star' westerns have some unique elements that make them worth watching, if not just to see the early John Wayne. As one of the later films in the series, with its large cast, leisurely pace, and more developed scenes with lead and supporting players, it seems more like a western of the forties (of course, without the music sound track), with major portions of it given over to John Wayne's love interest, Lucille Brown, as Beth Matthews.In many of the previous ones the female had little to do, or was reduced to a cypher, and usually, as if by magic, kissed him or ran off with him at the end, hardly ever appearing much in the film or playing off him in very many key scenes.Here the emphasis is quite different.From her first scene facing the camera in a long medium shot and boldly proclaiming herself, she is given a lot of dialog and many scenes with John Wayne, who plays John Higgins, the 'falsely accused' killer of her father (this fact unknown to her until revealed by the villain, Leroy Mason as 'Dixon.') These scenes range from adulation and love, surprise and sadness, to vile contempt and tears -- when she condemns him as a robber, thief, liar and murderer -- and then back to "love in a cabin." No riding off into the sunset here! The movie gives more screen time to the heroine than to the villain! Here the villain, Dixon, is weak and doesn't appear very much. Well, you can't always have both (except in great films, of course!).Unfortunately, the film drags along after Dixon hatches the plot to steal all of Beth's horses. There's no tension or excitement that builds from this point on, even when Higgins captures Dixon, in a rather weak fight. Just a dull, working through of the plot. The first half had the excitement, with Higgins chasing and being pursued by Dixon's 'posse', who rob the 'Stage' (an old Tin Lizzie!).So, finally, I have to give it a four, even though I enjoyed the fact that as a love story, this was one 'Lone Star' that was more fully developed! Side note: We also get to see and hear George Hayes use his 'normal' voice and facial expressions as Sheriff (except for short inter cut scenes with 'Blacksmith Bob')!