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100 Rifles

100 Rifles

Adventure · Western · War · 1969

When half-breed Indian Yaqui Joe robs an Arizona bank, he is pursued by dogged lawman Lyedecker. Fleeing to Mexico, Joe is imprisoned by General Verdugo, who is waging a war against the Yaqui Indians. When Lyedecker attempts to intervene, he is thrown into prison as well. Working together, the two escape and take refuge in the hills, where Lyedecker meets beautiful Yaqui freedom fighter Sarita and begins to question his allegiances.

Movie details

100 Rifles

“All they need is… 100 RIFLES”

1969 Adventure · Western · War 1h 50m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

When half-breed Indian Yaqui Joe robs an Arizona bank, he is pursued by dogged lawman Lyedecker. Fleeing to Mexico, Joe is imprisoned by General Verdugo, who is waging a war against the Yaqui Indians. When Lyedecker attempts to intervene, he is thrown into prison as well. Working together, the two escape and take refuge in the hills, where Lyedecker meets beautiful Yaqui freedom fighter Sarita and begins to question his allegiances.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over 100 Rifles?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Tom Gries

Written by

Clair Huffaker · Tom Gries

Jim Brown

Jim Brown

Lydecker

Raquel Welch

Raquel Welch

Sarita

Burt Reynolds

Burt Reynolds

Yaqui Joe Herrera

Fernando Lamas

Fernando Lamas

General Verdugo

Dan O'Herlihy

Dan O'Herlihy

Steven Grimes

Eric Braeden

Eric Braeden

Lt. Franz Von Klemme

Aldo Sambrell

Aldo Sambrell

Sgt. Paletes

Court is in session

Put 100 Rifles on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.