Rating: 2 out of 5 stars
Something startles the dusty crowd, and they look to the rooftops where a masked man astride a white stallion imposingly stands. The William Tell Overture triumphantly storms in on the soundtrack, and like a match striking a fuse, ignites the action onscreen. What follows is awash in shimmering, glorious insanity that feels ported directly from the adolescent daydreams of an Eisenhower-era pre-teen boy.
Twin trains hurtle down parallel tracks as outlaws, marshals, cavalrymen and railroad barons engage in gun slinging across a yawning ravine. Meanwhile, the titular hero rides Silver across the boxcars, his compatriot Tonto crawling up improbable ladders as if he were Buster Keaton or Harold Lloyd. The scene keeps going and going, upping the ante at every breathless turn and executed with the frantic, captivating energy of a silent-era madman. Anyone worried that modern sensibilities would sink the Lone Ranger can be relieved...
Something startles the dusty crowd, and they look to the rooftops where a masked man astride a white stallion imposingly stands. The William Tell Overture triumphantly storms in on the soundtrack, and like a match striking a fuse, ignites the action onscreen. What follows is awash in shimmering, glorious insanity that feels ported directly from the adolescent daydreams of an Eisenhower-era pre-teen boy.
Twin trains hurtle down parallel tracks as outlaws, marshals, cavalrymen and railroad barons engage in gun slinging across a yawning ravine. Meanwhile, the titular hero rides Silver across the boxcars, his compatriot Tonto crawling up improbable ladders as if he were Buster Keaton or Harold Lloyd. The scene keeps going and going, upping the ante at every breathless turn and executed with the frantic, captivating energy of a silent-era madman. Anyone worried that modern sensibilities would sink the Lone Ranger can be relieved...
- 7/3/2013
- by Nathan Bartlebaugh
- Obsessed with Film
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