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Even worse are the creatures prowling the cornfield, which the gentleman owner unleashed during his experiments on his slaves. Magic rituals intended to resurrect his wife instead opened the doorway to demonic creatures who took possession of the remaining slaves as well as his children. The house now acts as a lodestone, drawing corrupt individuals in as fuel for demonic transformation.

Unwittingly opening themselves to psychic attack, the renegades are slowly consumed by their individual greed, which turns to mistrust and paranoia that one or several of the others in their gang are working together to abscond with all the gold. You can almost smell the sweat and fear. Screenwriter John Milius Apocalypse Now , Jeremiah Johnson took inspiration for this oater from the real-life story of the self-appointed frontier judge. Riders of Destiny Director: Robert N. Bradbury Year: For the next decade, until John Ford resurrected him in as a bona fide screen presence in the iconic Stagecoach , Wayne became a matinee idol in numerous entertaining though mostly forgettable B-movie oaters.

Riders of Destiny , his first of many for Monogram Pictures, is notable for a number of reasons. As with many of these so-called Poverty Row Westerns of the s, Riders of Destiny is a brisk narrative and high on sensational plot twists. Villains are dastardly, in this case a corrupt savage capitalist played by Forrest Taylor, who intends to steal all of the water from surrounding ranchers, charging them an exorbitant fee for its use.

And our hero is stalwart and true, here played by Wayne. What makes this singing cowboy more interesting than all of the yodelers who would appear on screen afterward is a simmering violence and darkness within him. The film falls under the same umbrella as movies like Forty Guns and Johnny Guitar , where the cattle baron is replaced with a cattle queen. The good news is that the film is over the top enough to be worth checking out, particularly as it concerns Barbara Stanwyck, who plays the ruthless and calculating Martha Wilkinson with just the right amount of percolating menace, as well as Glenn Ford, playing a fairly prototypical Western hero type with burly brio.

If you get flashes of Double Indemnity at the presence of Edward G. Maybe this film is done better elsewhere in the Western canon, but The Violent Men is certainly done well enough. Fulci is, after all, the guy who brought us such gory gems as The Beyond , City of the Living Dead , The Black Cat and Zombie Flesh Eaters , and the Western and all its subgenres tends to be a place of high values, higher gestures and little room for ennui.