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The Missouri Breaks

The Missouri Breaks

Western · Drama · 1976

When vigilante land baron David Braxton hangs one of the best friends of cattle rustler Tom Logan, Logan's gang decides to get even by purchasing a small farm next to Braxton's ranch. From there the rustlers begin stealing horses, using the farm as a front for their operation. Determined to stop the thefts at any cost, Braxton retains the services of eccentric sharpshooter Robert E. Lee Clayton, who begins ruthlessly taking down Logan's gang.

Movie details

The Missouri Breaks

“One steals. One kills. One dies.”

1976 Western · Drama 2h 6m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

When vigilante land baron David Braxton hangs one of the best friends of cattle rustler Tom Logan, Logan's gang decides to get even by purchasing a small farm next to Braxton's ranch. From there the rustlers begin stealing horses, using the farm as a front for their operation. Determined to stop the thefts at any cost, Braxton retains the services of eccentric sharpshooter Robert E. Lee Clayton, who begins ruthlessly taking down Logan's gang.

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 The Missouri Breaks?

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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Names above the title

The people responsible.

Directed by

Arthur Penn

Written by

Thomas McGuane

Marlon Brando

Marlon Brando

Robert E. Lee Clayton

Jack Nicholson

Jack Nicholson

Tom Logan

Randy Quaid

Randy Quaid

Tittle Tod

Kathleen Lloyd

Kathleen Lloyd

Jane Braxton

Frederic Forrest

Frederic Forrest

Cary

Harry Dean Stanton

Harry Dean Stanton

Calvin

John McLiam

John McLiam

David Braxton

Court is in session

Put The Missouri Breaks on trial.

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

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.