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Rooster Cogburn

Rooster Cogburn

Adventure · Drama · Western · 1975

After a band of drunken thugs overruns a small Indian Nation town, killing Reverend Goodnight and raping the women folk, Eula Goodnight enlists the aid of US Marshal Cogburn to hunt them down and bring her father's killers to justice.

Movie details

Rooster Cogburn

“The man of "True Grit" is back and look who's got him!”

1975 Adventure · Drama · Western 1h 48m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

After a band of drunken thugs overruns a small Indian Nation town, killing Reverend Goodnight and raping the women folk, Eula Goodnight enlists the aid of US Marshal Cogburn to hunt them down and bring her father's killers to justice.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Rooster Cogburn?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Cahill: United States Marshal

Cahill: United States Marshal

Drama · 1973

J.D. Cahill is the toughest U.S. Marshal they've got, just the sound of his name makes bad guys stop in their tracks, so when his two young boy's want to get his attention they decide to rob a bank. They end up getting more than they bargained for.

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Names above the title

The people responsible.

Directed by

Stuart Millar

Written by

Martha Hyer

John Wayne

John Wayne

Reuben J. "Rooster" Cogburn

Katharine Hepburn

Katharine Hepburn

Eula Goodnight

Anthony Zerbe

Anthony Zerbe

Breed

Richard Jordan

Richard Jordan

Hawk

John McIntire

John McIntire

Judge Parker

Paul Koslo

Paul Koslo

Luke

Jack Colvin

Jack Colvin

Red

Court is in session

Put Rooster Cogburn on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.