Actuakers One of my all time favorites.

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Lela The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

scoops35 Love this movie and have it in my archive. not sure why someone would call it a leone rip off. He just happens to be the most famous of the directors. But there were other influential ones created by the likes of Sergio Corbucci "Django" and this one by Giulio Petroni. All very entertaining all dubbed. If you say rip off then Leone rip offed Kurosawa .. but in my eyes its not rip off... remake or takings ideas is flattering in my eyes...Death rides a horse is great for a nice Spaghetti western marathon

Cristi_Ciopron As a western tale of menace and atmosphere, Giulio Petroni's epic reminded me of Hammett (for the plot of clever, cold revenge, a 'Yojimbo' flavor coming back to the Occident, but this tendency is soon dropped for good, as the two gunmen meet fiercer gangsters in Lyndon City, and the storyline is episodic, from one town to another, then across the border amid the frightened Mexicans), Bogart (by Van Cleef's endearingly careful role, but this is a limited resemblance or suggestion, since 'Ryan' hasn't the vulnerable and down to earth side of the silver screen Marlowe or Spade, though he is quite soon stripped of his seeming omnipotence and, in the scene after Bill rescues him, he appears as a vulnerable person indeed, still trying to patronize the cub with wisecracks; so just a hint of a resemblance, within different and dissimilar scripts), and the action starts with spurs, it has wholesome humor (the son's first entrance into Cavanaugh's saloon, there is a sense that this youngster has humor and a sense of fun, as in Nero doing an Eastwood role), there are satisfying twists (Cavanaugh's early demise), a less plausible idea (Walcott shows at the bank robbery). The movie is suspenseful, and, if couldn't term it stylish, it's eerie, grim and intensely dramatic; Van Cleef's role isn't the one he had in the Leone movies, and if, for some, those seemed really his movies, as opposed to the blander Eastwood's, this becomes Bill's movie. Which means Ryan isn't magically better than Bill. He's not that entitled to patronize the youngster.Ryan has the advantage of mysteriousness, so Bill has to be resourceful, which he is. And where Leone was playful, Giulio Petroni is dryly humorous. There's no spoof, I suppose, but a bit of comedy.

Edgar Allan Pooh . . . where every woman was a rape-victim-waiting-to-happen; where bankers robbed their own banks (which sounds like a story ripped from today's headlines); and where the bad guys always waited one second too long to kill the good guys. Vengeance is a dish best served cold, but with plenty of salt. Two Americans bring relief to a gang-terrorized Mexican village, with Ennio Morricone contributing one of his 80 film scores from the mid-1960s. This is a low-budget film, so instead of the MAGNIFICENT SEVEN you have "the better-than-average two" (which is still double the number of stalwarts in HIGH PLAINS DRIFTER, or any number of other Clint Eastwood solo acts). Climaxing with a mini-version of the Siege of the Alamo, DEATH RIDES A HORSE is not dissimilar from a samurai flick. Director Giulio Petroni uses red filters from time to time to denote flashbacks to "Bill's" childhood trauma, just as Alfred Hitchcock had done a few years earlier in MARNIE. (If ALIENS watch these two films, they might not "get" them, even if they're NOT color blind, as their blood is green!)

bkoganbing After Lee Van Cleef scored in the Clint Eastwood spaghetti western films and after years of support he became a star on his own. Not exactly leading man material, Van Cleef became a kind of lower case Lee Marvin for the rest of his career. His first starring vehicle was Death Rides A Horse where he plays an old outlaw who has a score to settle with an outlaw gang that betrayed him.Also having a score to settle is young John Phillip Law who as a child saw the same band murder his parents and sister. One of the outlaws feeling sorry for him, carried him from a burning building. This is hardly an original plot and has been done in American and spaghetti westerns a Gazillion times best known as the storyline in Once Upon A Time In The West. Still veteran westerner Van Cleef and Law carry it off with aplomb.I'm not a big fan of spaghetti westerns, but this one is all right.