Hellen I like the storyline of this show,it attract me so much

PlatinumRead Just so...so bad

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Nicole I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Scott LeBrun "Ride in the Whirlwind" is a good, engaging Western, which maverick low budget filmmaker Monte Hellman shot back to back with the critical favourite "The Shooting". It's more straightforward and thus a shade less interesting than that film, but it's still agreeable entertainment, and it even has some poignant and philosophical moments going for it. Hellman keeps the pace quite deliberate, never rushing through any scene. The action is well executed when it does occur, though, and the film is gorgeously shot on desolate locations by Gregory Sandor.A young Jack Nicholson co-stars; he also wrote the script and produced the picture with Hellman and an uncredited Roger Corman, who'd given Nicholson his big break. Jack plays Wes, one of a trio of travelling cowhands. His companions are Vern (Cameron Mitchell) and Otis (Tom Filer), and one day they happen upon an outlaw gang including Blind Dick (Harry Dean Stanton) and Indian Joe (Rupert Crosse). Blind Dick and company have just robbed a stagecoach, and a posse are on their trail. When the posse catch up to their quarry, they just assume that Wes, Vern, and Otis are part of the gang, and fire upon them as well. Wes and Vern are forced to run for their lives.Nicholsons' story is decent, but also pretty forgettable in the end. It's a largely low key story that concentrates more on character than such things as set pieces. It's the efforts of Jack as an actor, and the rest of the cast, that help to keep "Ride in the Whirlwind" watchable through its appreciably brief 83 minute run time. By the end, you really do feel bad for Mitchell and Nicholson, and are left to ponder the nature of fate.Worth a look for fans of Westerns, independent cinema, and Hellman & Nicholson in particular.Seven out of 10.

ma-cortes This independent and offbeat film deals with three cowboys who are mistaken for members a band , then they're wrongly pursued by a relentless posse . This outlandish Western is finely set against barren backdrop and well photographed outdoors . Slow-moving , a little boring , however being packed with exciting pursuits , strong performances and noisy gunplay . Written , starred and produced by Jack Nicholson along with an uncredited Roger Corman . Made concurrently , back to back , with ¨The shooting¨ with the same cast (Millie Perkins, Jack Nicholson) , cameraman (Gregory Sandor) and maverick director (Hellman) . Slammed by the intelligentsia when it was released , today become a minor cult movie , as well as ¨The shooting¨ .The motion picture was professionally directed by Monte Hellman (Two-lane blacktop , Cockfighter) in his usual visual style . His stars are similarly independent-minded actors such as Jack Nicholson , Harry Dean Stanton and Cameron Mitchell . From his two known strange , outlandish Westerns in which Hellman directed in rare as well as special qualities , he has remained fiercely independent with lukewarm reception by public, but praised by critics . In his first films he teamed up Roger Corman who produced his earlier movies with a relative success , however nowadays he only makes fateful B movies and failure television movies .

MisterWhiplash If I had to explain with complete certainty why Ride in the Whirlwind is better than average it wouldn't be very easy because on the surface it seems average through and through. It was made obviously for bargain-basement prices (I think director/co-producer Hellman once said that he didn't think anyone would see the westerns he made in the 60s), yet with that, and within the simple confines, there's a freedom in other ways too. On the surface it seems like a cowboy story gone awry, as cattle herders Jack Nicholson and Cameron Mitchell, along with another partner, are on their way to Waco and come upon a cabin occupied by Harry Dean Stanton (in total 'bad-ass' mode with an eye-patch) and his gang (who previously robbed a stagecoach and killed a few of its passengers), and neither want any trouble so they settle for the night. The next day, of course, a posse has discovered Stanton's gang's whereabouts, and there's a shootout. Somehow, Nicholson and Mitchell (not the other partner) sneak out during the shoot-out, but are of course mistaken for being part of the gang, and are sought out to be strung-up.What makes this simple premise- of cowboys falsely accused of pillaging and murder- more interesting than anything else is the consistent sense of dread and of the romantic sheen of more popular A-list westerns being stripped away. Since B-movies, not just B-westerns, concern more-so the basics of the characters, Hellman and writer Nicholson (who with this and the Trip shows that he actually isn't a bad writer with original material) dig into the fatalism tapped into both sides, of the posse and the prey. Some of the best scenes come up in the time that would usually be called the filler, when Nicholson and Mitchell hold up at a farmer's house and try and get their mind off of the situation with little distractions- Wes (Nicholson) checking out the horses, the two of them attempting a checkers game, trying to sleep- and what isn't said or the extra meaning behind the matter of fact dialog means a good deal. There's also the aspect to their not really being a sense of true justice, as the posse have taken it upon themselves to go after these men; you know just looking at these barely one-dimensional figures that all they want is a hanging done, no more no less.I'm not sure how much allegory could be drawn from the picture, though on a first viewing sometimes the stilted acting by the supporting players drew away from that (there's also a practical lack of wit from the screenplay, which is appropriate but nears being a little bland for its own good). And while it doesn't dig into the complete heels of the western genre like a later John Ford or Leone movie, or even Unforgiven, Hellman's film is a cut above many other westerns that would settle for conventions being without any challenges to the situations. The climax of the picture doesn't come as too much of a shock to those who've seen their share of genre material, but it was the best way to end the picture: it's not really a happy ending, in spite of the 'riding off into the sunset' shot. There's no hope in this world, not on any side, even if complete justice is not sought. Short and succinct, this is one of those flicks to see in the one dollar bin at the video store, if only for Nicholson and Stanton's eye-patch.

alexandre michel liberman (tmwest) In the story of three cowboys who are mistaken for stagecoach robbers, Monte Hellman made an oppressive western that reaches the spectator. The situation in the film is extreme and is rightfully called the "whirlwind". You have to ride the whirlwind, to escape from it, and for Nicholson and Mitchell and Stanton it is practically impossible. Millie Perkins as Abigail and her parents are also caught. This film can be seen as a metaphor for some of the most terrible troubles that affect people's lives. They come like the whirlwind, finding people at that particular place and time, and destiny will make some ride through them and others not.This film gave me this feeling.