Very quickly you realize that this is terrible... acting is bad and the camera is shaking all over the place... Had to turn it off. Why would they waste money on this??
Reviewed by jimaquil1 / 10 / 10
Some of the worst acting ever.
This is one of the worst Westerns I have ever watched. I have seen high school plays with much better actors than the lead villain . He was absolutely horrible.
Reviewed by zardoz-131 / 10 / 10
A Lame, Ultra-Low Budget Western
An old-time Hollywood producer once quantified the difference between a big budget and a low budget western. The number of horses drawing a stagecoach is a dead giveaway. Big budget westerns boast six-horse teams, while low-budget sagebrushers content themselves with four-horse teams. A two-horse team pulls the stagecoach in "Run for the High Country," a lame, saddle-sore saga about a lawman on the trail of several desperadoes. Presumably, a low low-budget western could only afford a two-horse team. Paul Winter not only wrote and directed it, but he also played the lead and edited it, too. He stars as U.S. Marshal John Towne of Colorado. Stagecoach bandits ambush him on the trail. Rather than putting him out of their misery, Chacon and his two gunmen leave Towne mounted astraddle his horse with a noose tight around his neck. Miraculously, Towne's horse doesn't spook, but that doesn't keep Towne from sweating bullets. Eventually, a young Navajo boy intervenes. The youngster has been on the lam since his parents were murdered. The two become unlikely friends, and Towne grows fiercely protective of the Native American lad. The violence is tolerable, and Towne doesn't mind taking the law into his own hands when he feels his own sense of justice comes under fire. Predictably, all the white settlers abhor the little Native American. Towne reacts with rage and incredulity at their attitude toward the Navajo. Ostensibly, Winter co-produced this horse opera with Patty Daniels-Winters, and they haven't scrimped with production values. The sets, the wardrobe, the vehicles, and the timeless Arizona scenery are all exemplary. Happily, the firearms are entirely appropriate to the period. The only discrepancy is the two-horse stagecoach. Sadly, the widescreen cinematography and the acting register as substandard. Lines of dialogue are uttered without conviction by a wooden cast who sound like they are reading their lines aloud for the first time. Winter relies on voice-over narration so we can get a perspective on the characters. The U.S. Marshal shares his insights as well as those of the child. Mind you, "Run for the High Country" contains some interesting dialogue, but the delivery of those lines is undercut by the pathetic acting. Winter is no better an actor than the rest of his cast. He looks like a refuge from a nursing home. Worse, despite having helmed six independent films, Winter has no idea how either to build atmosphere or generate suspense. The best thing to do with "Run for the High Country" (obviously a rift on the title of Sam Peckinpah's classic "Ride the High Country") is run from it.