Burt Sullivan, a rugged Texas sheriff heads to Mexico along with his raw younger brother Jim to seek revenge, by arresting the man Cisco Delgado for murdering their father quite a few years ago. When they reach a small Mexican town, they learn that everyone fears Cisco, as he has power over the people and their laws. Even with those obstacles that get in his way of finding Cisco, Burt wants his man, but a family secret he learns from Cisco when they finally meet. Turns the much-wanted revenge, into something even personal.
The ever cool, hard-ass Franco Nero appears in this customary walk-in-the park spaghetti western. There's nothing really going for it to set apart form the norm, but due to Nero's charismatically gloomy presence, fluid pacing and Enzo Barboni's terrifically panoramic and professional looking photography of the desert terrain. These things go on to shape it into a solid, if unremarkable experience. The passé premise is a simple and unassuming one with a relaxed temperament, which is broken up by excitingly fast action, brutal stabs of violence and would go onto spring one random twist midway through. Plastering the firm script is plenty of snappy dialogues, but also lazy cracks can show up and stock characters are represented. Other than Nero, the only other performance to standout was José Suárez sophisticatedly sadistic part as Cisco. The plot actually allowed a bit of development and emotional play to the Cisco character. The rest of the noble cast were more than acceptable. Director Ferdinando Baldi squeezes in some stylish lashings and energetic verve, but rather then being truly dazzling in its context and visuals, it turns out to be proficiently competent and surefooted. Nothing pretentious marks its way in. Anton Garcia Abril's exuberant music score can be dynamic and tight, but feel symmetrically staged. Don Powell opening / closing emotional car wreck of a song can be quite risible. The English dubbing is not so great either, but there's not real damage by it. It's a polished and workmanlike production, but there's few major draw-cards.
"Texas, Adios" is middling work of the sub-genre, but for the fans it diverts and breezes by in no time.
The ever cool, hard-ass Franco Nero appears in this customary walk-in-the park spaghetti western. There's nothing really going for it to set apart form the norm, but due to Nero's charismatically gloomy presence, fluid pacing and Enzo Barboni's terrifically panoramic and professional looking photography of the desert terrain. These things go on to shape it into a solid, if unremarkable experience. The passé premise is a simple and unassuming one with a relaxed temperament, which is broken up by excitingly fast action, brutal stabs of violence and would go onto spring one random twist midway through. Plastering the firm script is plenty of snappy dialogues, but also lazy cracks can show up and stock characters are represented. Other than Nero, the only other performance to standout was José Suárez sophisticatedly sadistic part as Cisco. The plot actually allowed a bit of development and emotional play to the Cisco character. The rest of the noble cast were more than acceptable. Director Ferdinando Baldi squeezes in some stylish lashings and energetic verve, but rather then being truly dazzling in its context and visuals, it turns out to be proficiently competent and surefooted. Nothing pretentious marks its way in. Anton Garcia Abril's exuberant music score can be dynamic and tight, but feel symmetrically staged. Don Powell opening / closing emotional car wreck of a song can be quite risible. The English dubbing is not so great either, but there's not real damage by it. It's a polished and workmanlike production, but there's few major draw-cards.
"Texas, Adios" is middling work of the sub-genre, but for the fans it diverts and breezes by in no time.