John Wayne recovered from his first bout of cancer to appear in 1965's The Sons of Katie Elder as the brother of Dean Martin, Earl Holliman and Michael Anderson Jr. All four characters are wandering souls prone to trouble, but after the funeral of their frontier mother, they set out to avenge her death. Directed by Henry Hathaway (Wayne's director on True Grit), the film moves like a conventional, latter-day Western, with good performances from Wayne and Martin, who'd already costarred with the Duke in Howard Hawks' Rio Bravo. There's also nice support from Dennis Hopper (who had a legendary conflict with Hathaway on this film), Strother Martin and George Kennedy. -Tom Keogh.

A favourite film of some of the world's greatest filmmakers, including Martin Scorsese and Steven Spielberg, John Ford's The Searchers has earned its place in the legacy of great American films for a variety of reasons. Perhaps most notably, it's the definitive role for John Wayne as an icon of the classic Western-the hero (or antihero) who must stand alone according to the unwritten code of The West. The story takes place in Texas in 1868; Wayne plays Ethan Edwards, a Confederate veteran who visits his brother and sister-in-law at their ranch and is horrified when they are killed by marauding Comanches. Ethan's search for a surviving niece (played by young Natalie Wood) becomes an all-consuming obsession. With the help of a family friend (Jeffrey Hunter) who is himself part-Cherokee, Ethan hits the trail on a five-year quest for revenge. At the peak of his masterful talent, director Ford crafts this classic tale as an embittered examination of racism and blind hatred, provoking Wayne to give one of the best performances of his career. As with many of Ford's classic Westerns, The Searchers must contend with revisionism in its stereotypical treatment of "savage" Native Americans, and the film's visual beauty (the final shot is one of the great images in all of Western culture) is compromised by some uneven performances and stilted dialogue. Still, this is undeniably one of the greatest Westerns ever made. -Jeff Shannon, Amazon. com.

Dances with Wolves is the film that sent director-producer-actor Kevin Costner on his hubristic way; yet it is such a resonant and powerful film that we can almost forgive him for inflicting upon us his later "epic" The Postman. Here Costner plays a Union solder stationed at the far edges of the West, and left there to rot at his post. He finally sees the wisdom of the Lakota Sioux and finds peace within their community. But his decision to "go native" is greatly frowned upon by his military commanders, and the subsequent culture clash forms the backbone of the narrative. The story is told simply, and wastes not one word of dialogue, while the South Dakota locations provide a magnificent backdrop. Costner is sympathetic and accessible as an American Everyman who awakens to himself and the world around him. -Rochelle O'Gorman, Amazon. com.

Released almost exactly 11 years after Clint Eastwood's Unforgiven, Kevin Costner's Open Range proved yet again that the Western is the classic American genre. Costner's first film since 1997's ill-fated The Postman returns the actor/director of Dances With Wolves to the open prairies of America-in this case the free-range frontier of 1882-where legal "free-grazing" cattle drives were falling prey to empire-building land-owners. In the wake of territorial murder, free-grazing cowboys Boss (Robert Duvall) and Charley (Costner) seek vengeful justice against the ruthless rancher (Michael Gambon) who threatens their law-abiding survival. A feisty ally (the late Michael Jeter, in his next-to-final film role) and a doctor's sister (Annette Bening) offer support during climactic shootouts, masterfully staged with the shock and suddenness of real-life gunfire. While it lacks the thematic impact of Eastwood's masterpiece, this handsome production!-rich in character development and thick-hided humour-redeemed Costner's directorial career with a well-told story (by Craig Storper, based on Lauran Paine's novel The Open Range Men), flawless performances, and stunning Canadian locations. -Jeff Shannon.

Robert Aldrich pulls no punches in his unrelentingly brutal story of a reign of terror perpetrated on Arizona settlers by a bitter Apache warrior and the cavalry's frustrated attempts to stop him. Burt Lancaster, a longtime Aldrich collaborator and star of the similar 1954 Western Apache, brings his laconic, quietly authoritative presence to the role of McIntosh, a blunt-speaking, introspective old army scout with more respect than hate for his enemy. A very young Bruce Davison is the green-as-a-sapling Lieutenant DeBuin, fresh from West Point and filled with Christian ideals, thrown into the field against the vicious, tactically brilliant Ulzana. DeBuin is shocked and appalled at Ulzana's brutality-torturing male homesteaders to death, raping the women, leaving a trail of mutilated corpses-and as he struggles to understand Ulzana his values of Christian charity soon melt into racist hatred. Ulzana's tactics were familiar to Americans in 1972 who followed the war in Vietnam and the guerrilla attacks of the Vietcong. Like The Wild Bunch before it, Ulzana's Raid removes the sentimentality of Western ideals in its harsh portrayal of the violent world, though unlike Sam Peckinpah, Aldrich leaves the violence off-screen and allows the audience to see only the horrific aftermath. (These scenes are often graphic and not recommended for the squeamish. ) It's a disturbing and powerful film, where the concept of good guys and bad guys becomes meaningless and the battle between cultures ultimately comes down to survival in a harsh world. -Sean Axmaker.