The town marshal asks Flagg to take back his badge for his heroic deed, but he turns down the opportunity. He gives one piece of advice to the marshal, that, in order to be successful, "You have to tell the good guys from the bad guys."
Many critics failed to comprehend the comedic nature of the film. Howard Thompson of The New York Times said, "Whatever possessed these three actors [Mitchum, Kennedy and Balsam] to amble through such a dinky prairie oyster stumps us. And so does the uncertain tone of the picture, methodically directed by Burt Kennedy, which only toward the end asserts itself, clearly and lamely, as a good-natured spoof." Variety wrote that the film "provides what in today's market is acceptable family fare, laughs overshadowing the serious moments." Roger Ebert gave the film 2.5 stars out of 4, calling it "a fairly good Western but not good enough." Gene Siskel of the Chicago Tribune also gave it 2.5 stars out of 4, calling it "a pleasant enough oater that is low on violence and drama. It won't offend a soul, and is merely made for that catch-all evaluation, 'decent entertainment.'" Charles Champlin of the Los Angeles Times called the film "slow, gross, heavy-handed, neither funny nor sweetly sad." Gary Arnold of The Washington Post wrote, "Burt Kennedy's direction of this hokum is lively and likeable, but I'd prefer an older sort of hokum: Western melodrama with comic interludes or undercurrents, like 'Ride the High Country' and 'True Grit' at its infrequent best and William Wyler's 'The Westerner,' rather than deliberate, gratuitous spoofing."
Most of these movies (including "Good Guys") haven't been very good, but Mitchum has almost always been good in them. His scene with Elizabeth Taylor in "Secret Ceremony" (the one on the beach where she was dressed almost deliberately to look like a fat slut) was one of the best either one of them has done; his eyes were narrow and his voice had an insolent drawl to it, and you realized there are very few actors who can hold the screen against Taylor the way Mitchum did.
These sorts of thoughts come to mind while you're sitting through "The Good Guys and the Bad Guys," which is a fairly good Western but not good enough. It is better, for example, than "The Undefeated" (1969), because director Burt Kennedy is intent on keeping it moving. But like "The Undefeated," it tends to get bogged down in those slice-of-Western-life scenes that the new generation of directors seems to remember from old John Ford movies. Ford, however, never let them gum up his story the way Kennedy does.
The plot for "The Good Guys," is one of the basic Western themes: An aging marshal is deprived of his badge, and then sets out single-handed to prove himself and bring the bad guys to a painful end. Unfortunately, the movie never seems quite sure whether it's serious or not; some of the banter between Mitchum and George Kennedy (the retired head bad guy) is too light to support the eventual shoot-out.
And it is quite a climax; the best this year in a Western, I'd say. Kennedy stages a chase scene on a train (featuring a conductor played by John Carradine) that's as thrilling and funny as the train chase in "The Great Bank Robbery" was meant to be. This is the payoff, and it works; and there are good character roles for Martin Balsam, Tina Louise and Marie Windsor earlier along the road. But Mitchum eventually has to carry the picture, as he has carried so many before, and his scenes work even when they shouldn't. It's a relief to know he has just finished "Ryan's Daughter," directed by David Lean, and that next year we'll hopefully be able to see good Mitchum in a good movie, for a change.
This model has generated significant criticism lately for good reason. Commercial insurers complain that pharmacy benefit managers are not passing through the rebate revenue they should. In Medicare, the Medicare Payment Advisory Commission has consistently raised concerns that pharmacy benefit managers are not choosing the lowest-cost drugs. And recent work by 46brooklyn suggests that pharmacy benefit managers are charging Medicaid managed care organizations, or MCOs, much more for generic drugs than they are paying pharmacies.
The Good Guys series features an ex-biker/thug who is determined to turn over a new leaf. "Montana" lands on Vuldranni determined to be a "good guy". He is lawful-good in the classic D&D alignment grid.
The Bad Guys series features a burglar who wants to re-start his thieving career. "Clyde" lands in on Vuldranni determined to play the "game" as a Robin Hood type. He is Chaotic-good in the classic D&D alignment grid.
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"National security always matters, obviously," he said, when asked about Apple's conversations with these agencies and their desire for a so-called back door to Apple's systems. "But the reality is that if you have an open door in your software for the good guys, the bad guys get in there, too."
These screenwriters say that a major motivation for a storyteller to get into the backstory of a villain or create a main character with villainous tendencies is to see if they can get back on their feet, or in the good graces of the audience.
The FBI has also compiled some of its own numbers breaking down what role \"good guys\" have played in active shooter incidents. In a 2014 report, the FBI examined 160 active shooter incidents that took place between 2000 and 2013.
In November 2017, a so-called \"good guy\" did respond to the shooting that unfolded at a church in Sutherland Springs, Texas, but not until after the suspect had left the scene and already killed 26 people inside the church.
You KNEW there was going to be dynamite at some point, right?; With a terrifically-cheesy grin, McKay prepares to heave a stick at the pursing outlaws; Ka-BOOM!; The 577 continues to roll along with the bad guys coming alongside.
Soon the bad guys are looting the gold (GOLD!!!) from the train; Big shoot out!; I include this guy (John Davis Chandler as the henchman Deuce) simply for his absolutely marvelous sneer; And the credits roll.
We think the dream here refers to the biblical story of Jonah and the Whale. So Jonah, a good man and a prophet, is supposed to go to Nineveh and tell the people there to repent or else. He doesn't and ends up being swallowed by a whale. The Man and The Boy are kind of like Jonah, only the whole world has become the belly of the whale. They're wandering a world of desperate hunger, a maw (or stomach!) terrible enough to discourage anyone.
This exchange happens pretty soon after The Man had to kill the roadrat. The Boy wants to know if they're still "good guys" after killing someone. Despite his doubts earlier that morning, The Man thinks they are still "good guys." We agree. But we also think McCarthy plays around with his terms here. There are actually no "good guys" in the strictest, most traditional sense. There are just the "sometimes-morally-compromised-but-mostly-good guys."
Although McCarthy draws a pretty fierce line between the "good guys" and the "bad guys" in the novel, here's an instance where it seems like The Man wanders into "bad guys" category. Why does The Man call the marauder "My brother at last"? This is the marauder who would have eaten The Boy if given a half a chance. Perhaps it's because The Man had to resort to killing him. Self-defense doesn't make The Man as evil as the marauder, but maybe it puts him in the same ballpark.
An army in tennis shoes, tramping. Carrying three-foot lengths of pipe with leather wrappings. [. . .] The phalanx following carried spears or lances tasseled with ribbons, the long blades hammered out of trucksprings in some crude forge upcountry. [. . .] Behind them came wagons drawn by slaves in harness and piled with goods of war and after that the women, perhaps a dozen in number, some of them pregnant, and lastly a supplementary consort of catamites illcothed against the cold and fitted in dogcollars and yoked each to each. All passed on. They lay listening. [The Boy:] Are they gone, Papa? [The Man:] Yes, they're gone. [The Boy:] Did you see them? [The Man:] Yes. [The Boy:] Were they the bad guys? [The Man:] Yes, they were the bad guys. (141.4-141.10)
It seems like another giveaway of the "bad guys" is that they keep slaves with them. The Man and The Boy, on the other hand, spend a lot of energy trying not to harm others. We think good and evil in this book have a lot to do with how one responds to desperate situations: do you prey on those weaker than yourself, or do you avoid others and try to retain some sliver of decency like The Man? Or, like The Boy, do you go above and beyond the call of duty and care for those worse off than yourself? We think the gap between this bloodcult on the road and The Boy seems nearly unbridgeable. 781b155fdc