Inclubabu Plot so thin, it passes unnoticed.

Beystiman It's fun, it's light, [but] it has a hard time when its tries to get heavy.

Keira Brennan The movie is made so realistic it has a lot of that WoW feeling at the right moments and never tooo over the top. the suspense is done so well and the emotion is felt. Very well put together with the music and all.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

tomwal Gunsight Ridge is a "B" western with an "A " cast. Excellent story line ,understated score and fine photography all combine to tell the story of an agent played by McCrea who is sent to solve a series of robberies.Mark Stevens pretends to be a washed out mine owner while really robbing banks and stages. McCrea hires on as a deputy sheriff while investigating the crimes. When the sheriff Addison Richards is killed,McCrea vows revenge.Unusually somber atmospheric tone makes Gunsight Ridge a classic western. Rating ....Seven stars out of ten.

Spikeopath Gunsight Ridge is directed by Francis Lyon and written by Talbot and Elisabeth Jennings. It stars Joel McCrea, Mark Stevens, Joan Weldon, Addison Richards, Darlene Fields and Carolyn Craig. Music is by David Raksin (title tune sung by Dean Jones) and cinematography by Ernest Laszlo. McCrea plays Mike Ryan, an undercover Stage Line agent who while investigating a series of robberies takes the job of a deputy Sheriff in a border Arizona town. Gunsight Ridge is a neat little Western, better than most of its black and white type because it rises above its formulaic story to reveal interesting characters and good strands of plotting. In the mix is the detective work as Ryan hunts stagecoach robber Velvet Clark (Stevens) whilst also enforcing law in the town. There's a gang of ruffians on the outskirts of town known as The Lazy Heart Boys, who offer a side-bar of criminal activity, while Ryan and the Sheriff's daughter (Weldon) start to build an attraction. There's cold blooded murder on show, a rampaging stagecoach sequence through the rocky terrain and a finale up in them thar rocks that satisfies greatly. It is also a film that looks and sounds terrific. Raksin's score is full of thunder and sorrow, while Laszlo's moody photography is atmospherically noirish. It's the characterisation of Velvet Clark that is the trump card though. He is shown to be a ruthless killer and thief, yet he also has a sympathetic edge. He is given some depth by the writers, shown to be a frustrated pianist, he's tortured by his artistic leanings and how he has ended up on the wrong side of the law. With McCrea doing another in his line of straight backed and stoic man of the people turns, the dual aspect of good and bad characters works beautifully. There's other little character moments of worth as well, such as Carolyn Craig playing a young farm girl romanticising herself with the outlaw Clark, and old Sheriff Jones (Richards) obsessed with catching the robber because he doesn't want his perfect record blemished. Comfortably recommended to fans of 1950s "B" Westerns. 7/10

alexandre michel liberman (tmwest) There are two reasons why this western is above average: first the black and white cinematography of Ernest Laszlo. "Stalag 17", "Inherit the Wind"(where he got an Oscar), "Judgement at Nuremberg" are among his films. Second, the presence of Mark Stevens, as Velvet, a charismatic outlaw who manages to make his talent for playing the piano, the reason for all his crimes. Joel McCrea is good as always and the two women (one falls for McCrea and the other for Steven) add interest to the film, not counting the excellent Farm Girl who also falls for Stevens. In my childhood I used to love westerns where the outlaws used scarves as masks. Seeing this film makes me feel a child again, and enjoy every minute.

stripes-7 Francis Lyon always chose to have one (usually short and out of context) spot in his films that displayed some sort of tenderness, some sort of heart, in a figure that seemed to have neither. In this film, the guy in the black hat (Mark Stevens) happens up on an old abandoned shed in the middle of the desert. He goes in to find that there is nothing of use, but spies an old upright piano. It's long been neglected and is covered in dust. He blows the dust off and sits down to this abused keyboard. Suddenly, he is playing a very beautiful little piece that belies his present roughness and coldness and lets the audience know that it was not always this way with him.That he came from somewhere better, in another place, another time. David Raksin wrote this music. Its very quiet, simple and goes straight to the heart. It's been exactly fifty years since I have heard it last, but I remember every note as if it had been only yesterday.Perhaps one day it will appear again, but for now, I must depend on my memory if ever to hear those quaint chords again.