Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Bergorks If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

maryyoung1-643-994839 Written & submitted before 2010- please show it to me

rgee01 I was a child of the 1960s; my Dad grew up watching "Westerns" at the theater. He in turn introduced my brother and I; "Westerns" like the iconic movies featuring John Wayne; Alan Ladd ("Shane"); Gary Cooper; Burt Lancaster; the original "The Magnificent Seven" movie; I could go on. After I got older and with the advent of the Clint Eastwood "Spaghetti westerns" I presumed good movies of the genre was of days past. Then I saw this. I knew Kirk Russell from his body of work, likewise other cast members, save Val Kilmer, was not that familiar with his body of work. If you are a fan of the "Western" movie genre, welcome home. This one will take you back. Thanksgiving day, 1996, my Dad sat on the edge of his seat watching this and smiling. This was the last "Western" he saw before he passed 1.5 months later. But my being able to play this for him and his enjoyment, gave me as much if not more enjoyment than the movie itself. If a GOOD Western is what you want, look no further. Some pretty decent others have followed, but cannot, nay, could not touch this one.

rjsolcruz Kurt, Val and Sam. They are the Good, the Bad and the Ugly of the 1990's. This remake immortalizes the story of the OK Corral and makes it palatable to the younger generation. All classic westerns should be remade. As of today, there are just a few, namely 310 to Yuma, True Grit, Young Guns, Jesse James and Appaloosa. Back to Tombstone. The dialogs are great, the cinematography is excellent and the casting is perfect. Val Kilmer is a killer, literally and figuratively. Kurt has a number of immortal lines. And Sam is the Sinatra of action films with his deep voice.I have watched this film, from the VHS to the DVD to the BluRay version at least a hundred times. This movie is the reckoning!

sharky_55 Supposedly the original script of Tombstone had fully fleshed out lives and motives for even the smallest of secondary characters but which had to be cut for budgetary and time constraints. But in Fraker's dusty, deep focus shots of the bustling western town we get an inkling of this ideal anyway. The church sits in centre background like it did in My Darling Clementine, but here it is not a redemptive, restorative symbol and instead something to be burnt down and cursed. Townsfolk mill about in the distance, on foot and on horseback, and shootings erupt and cease fire like they are an everyday occurrence. There are those classical wide shots of posses riding furiously across the everlong plains, and those sunset silhouettes of caravan travel (that usual motif of the death of the west, the steam engine, not yet appearing). And who knows how long the crew had to wait to capture those shots of the red scarf billowing in the wind of the lightning storm in that frightful ambush? What better to play over the closing credits then the best sequence of the film, where the four 'tall drink of waters' approach the Gunfight at the O.K. Corral. They are dressed in black, and stride so confidently like the role of bringers of death that they have taken up, like undertakers ready to their duty (the thespian's description is rather apt). We know from their moustaches their history easily; Sam Elliot's iconic weathered one, grey with age and experience and good intentions (we react exactly as he does to a mother's scar). Paxton's thinner, younger one, who is most obviously the only of the brothers to not have killed a man. And Russell's whose is thick and in its prime, but reluctant and looking for a new life. Cosmatos (in reality Russell) takes his cues from Leone in the climatic build-up to the shoot-out. But the best performance undoubtedly belongs to Val Kilmer's Doc Holliday, who is electric as the long-time friend of Wyatt Earp. His tuberculosis does not hinder him; it in fact makes his sweaty face and his steady drawl even more menacing along with his eyes that seem alive in contrast. His gaze is steely and his wit unmatched - we cheer along with the bar's patrons when he mocks Ringo's quick-fast skills with the pistol with his drinking cup. And we know exactly where his loyalties and intentions lie when he fiercely objects to Wyatt's claim that he has no business here: he has not many friends, but once gaining that title it is for life. There's a curious element that goes mostly unexplored here. These men are more concerned with gambling and money and guns than they are with the arts - Cowboys shooting at a stage performance manages to be comedic and frightening at the same time. And in a symbolic blow, Mr Fabian falls later to more fatal shots, but Josephine is hurriedly moves on to the next arc of her life. Not even the gorgeous Dana Delany and her little shake of the head as she proclaims upon seeing Wyatt for the first time "I want one" can really save this subplot from veering into Hollywood cliché; it seems a little too coincidental for them to bump into each for a flirtatious horse ride and picnic, and the ending is too cheesy on the backdrop of such dramatic events (the director's cut ties up some loose ends, including the fates of Big Nose Kate and Mattie Blaylock). And some of the action sequence are a little sloppy and rushed - the river's end for Curly Bill, and the montages of the posse finishing off the Cowboys. But of course right on cue, the credits remind us how good it is at its best.