StunnaKrypto Self-important, over-dramatic, uninspired.

Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

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.

Edgar Allan Pooh . . . the ways. First off, "Dan" is Bess' dad and John's foster pops. That makes John's Canoodling with Bess some sort of incest (but probably just a mild case, by Red Nape Standards). Second, John and Bess fall in love with each other while John is firm in the sincere belief that he himself blew Dan's brains out awhile back. (But Bess later eagerly surrenders her Virtue to the thug who actually DID do in Dear Old Dad, as this sort of Patricide-by-Sexual-Proxy seems to be a major plot requirement for Early Westerns.) Third, the downfall of Joe Blow's Crime Empire comes when the Martin Brothers pass two stolen ONE dollar bills from a random heist months earlier to pay their cover charge for the Annual Halloween Dance & Milking Contest, which indicates that the Police State of Texas has always monitored the exchange of all cash down to the last buck far more carefully than it follows the swapping, selling, or gifting of military assault rifles capable of gunning down at least 102 civilians even when the lone shooter is surrounded by platoons of heavily-armed S.W.A.T. cops.

Robert J. Maxwell No need to spend much time deconstructing "Texas Terror." This was the depths of the Great Depression and John Wayne was lucky to find any work at all, even at Monogram. These things were turned out with blinding speed. I think there may have been a two-year period in which Wayne starred in eight of these poverty-row features.He isn't really "John Wayne" yet. He's tall, handsome, slender, slow, and graceful but doesn't project the indomitable and bulky masculinity of his later years. And he hasn't yet learned to reserve his strength. He throws his lines out as if proud to have memorized them.The girl in the picture seems to have less talent than Wayne. The smoothest performance is from George Hayes who hadn't become the caricature of "Gabby". He seems like the only seasoned performer in the cast.He's not, though. Yakima Canutt and gang did the stunts and they were very good riders. And the photographers included Archie Stout who was to win an Oscar for Wayne's "The Quiet Man" in 1952.The writers didn't need to spend much time on the script because the few words we hear are strictly functional, uttered only in order to advance the plot. Audio title cards."Seen anything of young Higgins lately?""Waal, he was in town to cash a few nuggets last week. Ridin' around with a heavy heart. Turned into a desert rat, you know."The story is perfunctory. Wayne blames himself for the death of an old friend during a hold up and, in part to redeem himself, helps his friend's newly arrived daughter to get the ranch up on its feet, ensnare the villains, and marries her. The stagecoach is a Model T Ford. There's a modern telephone. Lucille Brown wears 1935 clothes. But what do you expect?

Jay Raskin "Texas Terror" is better than a lot of the Wayne Lonestar Productions. In this one, Wayne gets a chance to expand on his usual innocent-tough guy persona. After an incident where his friend gets shot, a distraught Wayne quits his job as sheriff. He falls apart and grows a beard and looks like he's halfway towards turning into a Gabby Hayes, gruff-old- goat character. He then does another nice-turn-around to get back to being the hero. Wayne is less stiff and actually looks interested in the scenes he's in. Its really one of his best early performances.Besides Wayne getting to play a more multi-dimensional character, there's a great plot twist at the end. It is Wayne's Indian friends who come charging on horseback to the rescue. It is nice to see a 1935 movie where the Indians are truly the good guys and heroes in the tale.There's an hilarious milking contest in the middle. The losing milker looks exactly like the Pappy Yokum character from Li'l Abner. He was probably the prototype.Overall, this Wayne Lonestars becomes more interesting as it goes along. This is not something you can say about some others.

MARIO GAUCI I’d always resisted watching John Wayne’s 1930s Western programmers (some of them have been shown on both local and Cable TV over the years) – but, some time ago, my father had purchased a bargain-basement PD triple-bill featuring two of these (plus Clark Gable’s official debut, THE PAINTED DESERT [1931]) and I thought I’d check them out in time for The Duke’s 100th Anniversary. Incidentally, a few other early Wayne stuff is available from my local DVD rental outlet and, now that I’m in the vein for his films, I may get them as well...Anyway, having watched two such oaters in quick succession, I can say that they’re harmless and enjoyable enough – but, at the same time, charmingly naïve. Curiously, some years back, I had rented a number of PD Westerns and these included a couple of Randolph Scott titles from this same era – TO THE LAST MAN (1933) and ROCKY MOUNTAIN MYSTERY (1935): they share a connection with the two Wayne films I watched in that one was directed by Bradbury, while the other was adapted from a Zane Grey novel; the Scotts, therefore, are similar but also slightly superior.The plot of this one is pretty straightforward, but Wayne is a likable lead: he plays a sheriff who ends up accused of killing his best friend, resigns, meets and falls for the dead man’s daughter (whose ‘crime’ she’s unaware of) and eventually routs the real villain (who, unsurprisingly, is also interested in the girl). The treatment is completely unassuming (it has to be when the film is a mere 50 minutes long!) – with folksy characters (acting in broad early-Talkie style, particularly the leading lady) and stunt-heavy action (with the horses involved in some incredibly hazardous falls!). Still, the extreme low-budget is evidenced by the baffling intrusion on the Western setting of contemporary contrivances – houses are equipped with telephones, characters attend a dance in dinner-jackets, and Wayne himself is made to drive a car at one point (how a cowboy ever came to understand its mechanism so quickly isn’t worth pondering about, I guess)!