movie review gone to texas

Gone to Texas

June 7, 2022, starring: sam elliott, director: peter levin released: 1986, mood: if for some reason you like the bad ‘80s biographical films they made you watch in high school history lessons better than actual westerns..

It pains me to say this, but Gone to Texas made me lose interest in Sam Elliott .

That is akin to blasphemy, because Sam Elliott is like a religion to me. I have spent much of my life worshipping him from afar. So know that if I could find anything good at all to say about this TV movie, I would .

But since it made me feel the opposite of idolatry for one of my Western heroes – and stole two-and-a-half hours of my life – I’m going to keep this review short and sweet. Then I can hopefully get on with forgetting it exists.

If you love Sam Elliott, don’t let this cloud that perfect image of him in your mind . Just fast forward three years to Roadhouse and enjoy his long, wavy salt-and-pepper hair and thick moustache in a character and movie that are actually enjoyable to watch.

Gone to Texas (also known as Houston: The Legend of Texas ) is about the life of General Sam Houston .

• He was a huge deal in Texas
• He lived with Cherokee people, had great respect for them, and learned their language
• He was nowhere near as good-looking as Sam Elliott, and he never had a moustache
• Apparently he did own one of the ‘foundation sires’ of the American Quarter Horse breed

That’s all I could be bothered to learn about Sam Houston after watching Gone to Texas – and I LOVE learning about historical figures from movies and getting all jazzed about doing research! I’m a former journalist and briefly worked as a private investigator, you have to be extremely f*cking boring to deter me from snooping for more facts .

Anyway. In the early scenes you get a bunch of skinny white guys with long hair playing Cherokee people, some truly atrocious acting by his ‘Cherokee’ wife (Devon Ericson), and cheesy dramatic narration the likes of which I haven’t heard since suffering through Into the West .

I actually yelled “Barf!” at the screen while Ericson was narrating. If I’d had any kind of snack nearby I would have thrown it in protest. It’s that bad.

The costumes feel lazy, and the acting from pretty much everyone is just abysmal. Lots of finger waving and other crutches that fail to communicate any kind of passion or commitment to the characters.

Sam Elliott spends most of the story being loud and angry, or loud and stubborn, or just kind of surly. I get that Houston was keeping his army from getting themselves killed so they could win their final stand, but it’s a joyless performance and does nothing with his range . And because everyone around him is so flat, he often comes across as overacting.

Although Gone to Texas gets mildly better once Houston’s story actually gets to Texas and he starts doing battle stuff, the tone has been set and for me, I was already zoning out. I think the plot is more of a straight-up history lesson than engaging storytelling , like “these are the facts that happened in this order” rather than “let’s put some effort into character development and production.”

And I couldn’t tell you if it’s at least historically accurate, because I just wanted to quit. It was like 7pm and I would have rather gone to bed in full late-spring daylight than stick it through to the end – although I did, for my imaginary fans.

Even with tons of horseback action and long battle scenes and epic historical events represented, I was B-O-R-E-D.

If I’d caught the first episode when this thing originally aired, I’d never have kept watching. Honestly, I don’t even feel like writing more than what I’ve said. Gone to Texas gets a huge BOOOOO-URNS from me for taking up a night I could have watched an awesome Western. And more importantly, for marring my love of Sam Elliott.

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Once Upon a Time in a Western

Gone to texas (1986).

As the story begins, he’s governor of Tennessee, marrying pretty Eliza Allen, a woman half his age and the daughter of a wealthy landowner.

But the marriage quickly falls apart because Eliza loves another man and can’t stand the thought of consumating her marriage to Houston.

Houston takes her back home and requests a divorce. Rumours and scandal over what transpired prompt his resignation.

It also prompts him to retire from public life and live with the Cherokee. He marries Tiana Rogers, the cousin of Chief John Jolley, and helps the tribe negotiate with the U.S. government.

Houston’s interest in politics is re-invigorated when the U.S. government purchases their land east of the Mississippi and forces the tribe to accept script rather than gold as payment.

Houston rushes off to Washington to make an urgent plea on their behalf and winds up gaining a national spotlight after beating a Congressman with a walking stick.

He also renews his friendship with President Andrew Jackson, who urges him to head to Texas.

Trouble is brewing in the land controlled by Mexico. And the right leaders might be able to pry it from the grasp of Mexican President Santa Anna.

Sam Elliott as Sam Houston, ready to stop and fight for Texas independence in Gone to Texas (1986)

Richard Yniquez as Gen. Santa Anna, captured by the Texicans, but not recognized at first in Gone to Texas (1986)

Elliott blusters his way through the lead role in an obviously white-washed version of Houston’s life that treats him more as a legend than a real person.

He’s the defender of women’s honor, refusing to divulge the reason his marriage failed. He’s friend to the Cherokee, so important he becomes an honorary member of the tribe.

When he beats a lawmaker senseless, it’s clearly because the lawmaker deserved it. And Houston’s brilliant eloquence as an orator gets him out of trouble.

Once in Texas, he’s the one commander who understands the best way to defeat Santa Anna is to retreat and retreat some more, until his supply lines are stretched to the breaking point.

It’s all a bit much to swallow, though the real Houston compiled a long list of achievements, including becoming the only American to be elected governor of two different states (Tennessee and Texas), becoming president of Texas and one of the first U.S. senators to represent the state after it joined the union.

As for the film, it deserves credit for admitting the U.S. had machinations on Texas before fighting broke out. And it picks up steam during the second half, which is dedicated to the revolution.

And while The Battle of the Alamo is covered in a quick scene showing its aftermath, we see Mexican troops executing the survivors.

The Texans’ earlier capture of the mission is also re-enacted. So is the execution of captured Texans at Goliad.

Claudia Christian as Eliza Allen, being returned home after a failed marriage to Sam Houston in Gone to Texas (1986)

Donald Moffat as Col. John Allen, disgusted that Sam Houston has returned his daughter in Gone to Texas (1986)

Directed by: Peter Levin

Cast: Sam Elliott … Sam Houston Claudia Christian … Eliza Allen Devon Ericson … Tiana Rogers Michael C. Gwynne … Mosely Baker Donald Moffat … Col. John Allen John Quade … Sen. Stansbury Ned Romero … Chief John Jolley William Russ … William Travis John P. Ryan … David Burnett James Stephen … Stephen Austin Richard Yniquez … Gen. Antonio Lopez de Santa Anna Michael Beck … Jim Bowie Bo Hopkins … Col. Sidney Sherman G.D. Spradlin … President Andrew Jackson Ritch Brinkley … Sen. Buckley John de Lancie … John Van Fossen Peter Gonzales Falcon … Juan Seguin

Runtime: 144 min.

aka: Houston: The Legend of Texas

Ned Romero as Chief John Jolley, the Cherokee leader who has Houston negotiate on the tribe’s behalf in Gone to Texas (1986)

Devon Ericson as Tiana Rogers, Chief Jolley’s cousin and Sam Houston’s second wife in Gone to Texas (1986)

Memorable lines:

President Andrew Jackson: “I, sir, am the president of the United States. And you will show respect to me and the office I hold.” Sam Houston: “Which one of you lied to the Cherokee? The man or the office?”

President Andrew Jackson: “Sam’s being long-winded as usual. Never uses two words when 700 will do … If words were bullets, he could win a war single-handed.”

Sam Houston: “A corrupt and distant government wielding power over a vast territory with a population that loves freedom and independence. That sounds to me like the very prescription for revolution, Mr. Austin.”

Sam Houston: “The first thing you can do, Col. Bowie, is burn that mission to the ground.” Sam Bowie: “You don’t tell me what to do, General. And you most certainly don’t tell me to burn down the best fortification in Texas.” Houston: “We can never hope to defend it. I’ll send Will Travis with some men to help you blow it up.” Bowie: “I took this place, Sam, and by God, I will hold it.” Houston: “With what? This is a death trap. You have to destroy the Alamo.”

J.D. Spradlin as President Andrew Jackson, toasting Sam Houston in Gone to Texas (1986)

John Quade as Sen. Stansbury, beaten by Sam Houston because of an insult in Gone to Texas (1986)

James Stephen as Stephen Austin, explaining the state of affairs in Texas to Sam Houston in Gone to Texas (1986)

Katherine Ross as Susannah Dickinson, watching Alamo survivors being executed in Gone to Texas (1986)

Bo Hopkins as Col. Sidney Sherman, questioning Houston’s will to fight the Mexican forces in Gone to Texas (1986)

Sam Elliott as Sam Houston, disgusted that the Cherokee have been paid for their land in script, not gold, in Gone to Texas (1986)

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Gone to Texas

Film details, brief synopsis, cast & crew, peter levin, sam elliott, michael beck, james stephens, devon ericson, cynthia cuprill, technical specs.

The drama focuses on Sam Houston's life before Texas' independence, and his involvement in the Texas rebellion against Mexico, who was twice President of Texas, then its senator and governor.

Michael C Gwynne

Joe morales, john de lancie, brad leland, g. d. spradlin, william russ, john b wells, ambrossio guerra.

Katharine Ross

William schallert, claudia christian, dave tanner, richard yniguez, blue deckert, javier grajeda, jerry haynes, dennis letts, ritch brinkley, peter gonzales falcon, donald moffat, bobby bernhardt, john binder, richard brockway, scott cameron, morris chapnick, frank dobbs, daniel eccleston, john elizalde, david elliott, j d feigelson, stu fleming, paul freeman, ray herbeck, joie hutchinson, tony jacobs, fred m. lerner, david a. little, candis mason, dennis mccarthy, jimmy medearis, david menteer, karyn m olman, pamela peitzman, mort rabinowitz, paula sanburn vannucci, steven d spallone, william strom, frank watts, cliff wenger, miscellaneous notes.

Aired in United States November 22, 1986

Original title: "Gone to Texas: The Sam Houston Story."

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Produced by, gone to texas (1986), directed by peter levin.

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Synopsis by Hal Erickson

Characteristics, related movies.

Steven E. Wedel

Author of horrors and other stories.

Review: Gone to Texas

The movie The Outlaw Josey Wales is probably my favorite Western film, and one of my favorite all-around movies. I’ve been watching it for years and years without reading the source material, so I was a little nervous about taking on the novel that inspired the film.

No need, though.

The novel was every bit as exciting as the film and is one of the better “fast” Western novels I’ve ever read (fast opposed to the sprawling epics like Lonesome Dove). The film is pretty faithful to the book, though the movie adds and plays up the role of Fletcher and the “red-legs” so that there is a consistent bad guy, while the book is more episodic, without a central villain.

Gone to Texas won’t stretch your mind or change your social views, but for a fun, quick read filled with action and blazing pistols it’s one of the best I’ve read.

View all my reviews

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Gone to Texas

Stars sam elliott as sam houston.

Sam Elliott stars as the legendary, larger-than-life frontiersman and statesman, Sam Houston in this historical drama. Follow Houston from his days as Tennessee Governor, to his time among the Cherokees, and to the Battle of San Jacinto and, ultimately, Houston’s vision for what would, one day, become the great state of Texas.

Stars Sam Elliott as Sam Houston! He was at the forefront of the battle with Mexico to claim the territory that would become the great state of Texas. Two-time, President of Texas, Governor and Senator, this is the colorful, adventurous and bold story of Sam Houston, the larger-than-life frontiersman and statesman who shaped American history and the very birth of the Lone Star State.

During his time as the popular Governor of Tennessee, Sam Houston marries a wealthy, younger woman, Eliza Allen. Their wedding reception is a fashionable society event, but it doesn’t take long

for Houston to realize this was a big mistake. He and his new bride are completely incompatible. It seems Eliza’s heart is with another man, but honoring her father’s wishes, she agreed to marry the powerful Governor. Houston calls it quits, and takes the blame for the split.

Now, disgraced, he resigns his position and leaves Tennessee, traveling to the one place that gives him peace, a place where he spent several happy years in his youth. He heads out to live among the Cherokee on a reservation. On his way, he meets soldier and pioneer, Jim Bowie, who tries to convince Houston to travel to Texas, instead, as Bowie is recruiting settlers to the territory. But, the now divorced Houston needs to recharge, put politics behind him and get back to nature. For years, he fights for Indian rights and just treatment for the Cherokees. He takes a Cherokee wife, Tiana Rogers, but the lure of adventure and, eventually, the call back to politics, are too strong within him.

Houston leaves the reservation and travels to Texas to take up the biggest battle of his life, now sporting a new rank, as General Sam Houston. With the crushing massacre at The Alamo fresh in mind, he leads his outnumbered troops in a surprise attack against General Antonio Lopez de Santa Ana and his mighty army on the banks of the San Jacinto River.

The story stays fairly true to historical events, and Sam Elliot shines as the independent, crafty, brave, and gruff Houston.  

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Rotting Retro Review: ‘Preacher: Gone to Texas’

Garth Ennis’ wildly original story about a wayward preacher who posses the word of God begins here. Join us as we revisit Jesse Custer’s adventures across America. Where he teams up with a gunslinging babe, a foul mouthed Irish vampire, and is frequently visited by the spirit of John Wayne. There is no proper way to articulate the magic of ‘Preacher’ however; we here at Bloody Disgusting are going to revisit this iconic series over the next ten weeks. Covering a trade at a time. This is your chance to read along, and experience one of the wittiest and most original stories in comics.

This week is the first trade “Preacher: Gone to Texas.” Filled with sacrilege, gore, and amazing characters. All brought to life by Steve Dillion’s disgusting depictions of America. If this is your first time through ‘Preacher” you won’t be able to put it down.

April 1995 was a great time to be a comic geek. Batman was in the middle of an arc called “Darkest Day” and “The Maxx” was launching its first issue at Image. A lucky few who perused the shelves would have picked up “Preacher” # 1, and realized that nothing else out there would really compare.

“The Time of the Preacher” begins innocently enough. Our main characters sit around a booth in some shitty diner, discussing how they all came together. There’s Jesse Custer the titular preacher, Tulip the southern belle and ex-girlfriend, and Cassidy the wayward Irish traveler with a knack for trouble. The southern drawl of the American Bible-Belt comes through in droves. It’s hard to believe the amazing dialogue comes from an Irishman.

Ennis paints Jesse’s character perfectly with a drunken scene at a bar. Jesse’s sprung a leak. He’s feeding the entire town their own confessions in a crisis of faith. It defines Jesse and characterizes his doubt.

Then in a flash we cut to heaven. We are introduced to the order of God, and how something has gone very wrong. A being called Genesis has escaped the holy kingdom. Of course, said being hasn’t wandered far.

The first issue is filled with great character moments. Tulip shows her skills with a gun; by blowing off some creep’s lower jaw. Cassidy’s dialogue is razor sharp, and his wit cuts anyone down to size. He takes a bullet to the head like a champ. Our main antagonist, The Saint of Killer’s explodes into the story by blowing out the back of someone’s skull. The issue hardly waits for the reader to keep up; the story hits the ground running and doesn’t look back.

Steve Dillion’s art is truly something to marvel at. The moments of gore are handled expertly, as most of them are over the top, but Dillion revels in the moment. He always makes sure to linger on the gore for a panel or two. The ramifications of extreme violence are in the panel to panel reactions. Things happen quickly but when gore is involved Dillion slows down, to create a moment of impact.

Dillion’s depiction of southern folk is also something to commend. The sunken in faces of the supporting characters, and the chiseled jaws of the police force say so much about them. Dillion has a uncanny ability to articulate lived in, broken looking people. It expertly magnifies the struggle of Jesse and his group, as the dregs of humanity constantly surround them.

So, a being called Genesis escapes from heaven. This being is a synthesis, a child of good and evil. It is the word of God, and it possesses Jesse Custer. The possession owns the first issue, as Dillion’s art vaults Jesses into the air, and disintegrates his entire congregation around him. It’s chilling stuff, and also the reason everyone has come together. The police are after Jesse for the mass murder, The Saint of Killers has come to reclaim Genesis, and Cassidy and Tulip are along for the ride.

Jesse searches for answers. He needs to find out why he was possessed and worse yet, he needs to find out where in the fuck God went. See since Genesis disappeared, so did God. Still with me?

Here the book kicks into a cross-country crisis of faith and character. We learn about Jesse’s incredible ability to stop anyone dead in their tracks with his words. The main trio provides ample amounts of laughs, and drama. Cassidy is one of the best characters put to page. He steals almost every scene he is in, and manages to be a profoundly human demon.

He and Jesse’s relationship allows for a lot of tension in the first trade. Cassidy is well equipped to help Jesse’s plight, but upon finding out that Cassidy is a demon, Jesse condemns him. It’s an interesting dynamic. Any amount of self-reflection would cause Jesse to realize he is far from a good person. Yet, he pushes Cassidy away all the same.

Jesse and Tulip’s relationship was fractured over past trauma. The classical bad breakup and the inability to talk about it push them into new territory. Neither wants to talk about the past, but each is such a different person since they parted ways that they cannot help but be enraptured by one another.

Finally, The Saint of Killers: an unstoppable killing machine who also happens to be the patron saint of killing. He is on Jesse’s trail, and stops at nothing to catch him. I mean fuck, he ends up severing a cop’s dick and shoving it so far into the man’s own ass that it has to be surgically removed.

Which is a nice segue way into just how special “Preacher” is. This is a series that isn’t afraid to take chances. The envelope is constantly pushed with depictions of extreme violence and gore. Yet, the characters who engage in such acts are so interesting and morally deplorable that you won’t be able to look away. Ennis cements this with the second arc in the trade. Centering on a NYPD cop and his super partner looking into the case of the reavercleaver.

Everything culminates in a dark and twisted way that leaves Jesse, Tulip, and Cassidy more lost than before. The series pushes the characters into a point of no return, and manages to ensure that each of the main trio has unique goals. The story is massive but conveyed with the relative simplicity of the heaven and hell dynamic.

However, in true Ennis fashion things quickly become more morally grey. The distinction between good and evil washes away. In the end Ennis has a series filled with remarkably bad but entertaining people. Dillion brings every moment to life with a certain southern grit, and manages to revel in cringe worthy moments of gore.

There hasn’t really been anything like ‘Preacher’ since it ended in 2000. Rumors of a movie keep rising to the surface, but experiencing it on the page is a must. This is a master class in comic book storytelling, and each page brims with gore. If you haven’t read Preacher yet, go out and get “Gone to Texas” ASAP, you won’t regret it.

Rotting Retro Reviews is something new we’re launching. If you’ve got any more series you’d like to see us cover, or just have great things to say about “Preacher” sound off in the comments. We’ll continue to cover this series over the next couple of weeks, but want to hear about what retro series YOU want to see discussed here on BD.

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‘The Wicked Trinity’ – Preview New Archie Comics One-Shot Inspired by ‘The Craft’ [Exclusive]

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You’ll be able to meet The Wicked Trinity in the 32-page comic on June 12, 2024 .

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Archie Comics Senior Director of Editorial Jamie L. Rotante tells Bloody Disgusting, “When Editor-In-Chief Mike Pellerito came up with the idea of the Wicked Trinity—Amber Nightstone, Jade Kazane, and Sapphire Gill—I was immediately intrigued. I even had the good fortune to work on the script for Jade and Sapphire’s first appearance in last year’s SABRINA ANNUAL SPECTACULAR comic for younger readers. What I especially loved about these magical teens is that they could seamlessly transcend from classic-Archie stories into more mature, even horror stories. I was eager to start developing their world with a modern sensibility, taking cues from the great work of Kelly Thompson and Veronica Fish on our S ABRINA THE TEENAGE WITCH series, and Sarah Kuhn and Carola Borelli on our recent DARKLING one-shot. Inspired by series like Charmed and films like The Craft , I knew there was so much potential to build up this coven in a story that beautifully blends magical fantasy with horror.”

Writer Sam Maggs previews, “Real witches writing real witches—that’s how we do things over at Archie Comics! I was named after a famous witch—Samantha from Bewitched —and so I grew up absolutely obsessed with everything witchcraft, devouring every book series I could about teen witches. That makes WICKED TRINITY a dream project for me. The power and energy of teen girls is absolutely unmatched (just look at the engine behind fandom culture) and being able to harness that metaphorically for a story like this is such a delight. Everything I write focuses on the power of female friendship, and this story is no exception. And what’s better than a morally grey female character? I struggle to think of anything. Cat familiars, maybe? Also, I’m totally a practicing witch now. So maybe if you read this, you’ll find yourself imbued with magical powers, too.*

Artist Lisa Sterle adds, “I can’t wait for people to be re-introduced to The Wicked Trinity! Witches, fashion, and Archie Comics; this is truly a magical trifecta and I’m so happy to have the opportunity to put my own personal stamp on this. I love to create stories in which girls find their own power, both from within themselves and through their friendships and coven. If you’re a fan of my Modern Witch tarot, you’ll find this comic just as magical.”

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What’s the Story Behind Gone to Texas?

The phrase “Gone To Texas” has a long and colorful history — and one that might just surprise you.

In a few days, on the eve of their first day of class, thousands of excited freshmen will gather in front of the Tower for “Gone To Texas,” a huge celebration of all things UT. It is the official start of Longhorn life and a celebration mirrored at graduation.

But the phrase “Gone To Texas” has a long and colorful history — and one that might just surprise you.

In the 1820s and early 1830s, when Texas was a sparsely inhabited territory of Mexico, Americans in the South saw it as a place of opportunity, a place to start over. Many of them were in debt and running from creditors after the Panic of 1819. Others were escaping a variety of problems — legal and personal.

In 1830, William Dewees wrote to a friend, “It would amuse you very much could you hear the manner in which people in this new country address each other. It is nothing uncommon for us to inquire of a man why he ran away from the States! But few persons feel insulted by such a question. They generally answer for some crime or other which they have committed; if they deny having committed any crime, and say they did not run away, they are generally looked upon rather suspiciously.”

Many others were not outlaws but came for the free land offered by the Mexican government, which was trying to attract Americans to help settle this wild country.

When Southerners began leaving their homes, many would simply scrawl “GTT” with chalk on their cabin doors or fence posts — for “Gone To Texas.” In time, GTT became shorthand for “at outs with the law.” Frederick Law Olmsted wrote that residents of other states “appended the initials to the name of every rascal who skipped out.” In 1884 Thomas Hughes observed, “When we want to say that it is all up with some fellow, we just say, ‘G.T.T.’ as you’d say, ‘gone to the devil,’ or ‘gone to the dogs.’ ”

Today, nearly two centuries later, “Gone To Texas” is a phrase used with pride by those accepted to The University of Texas at Austin, also known as “Texas.” Instead of debtors from Tennessee or outlaws from Kentucky, it now is used by new Longhorns across the state and around the world, excited for what lies ahead.

Certainly, you can still be “Gone To Texas” from Tennessee, but you can also be Gone To Texas from Amarillo, or Laredo, or Lufkin. You can be Gone To Texas from New Delhi or Seoul, Berlin or Nairobi.

No matter how different the meaning is, though, one part of this story has not changed: Now as then, “Texas” is a place of opportunity, of fresh promise, of a bold new start.

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Gone to Texas - Full Cast & Crew

• 2 hr 18 mins
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Sam Elliott stars in the story of Sam Houston's role in the Texas rebellion against Mexico. Andrew Jackson: G.D. Spradlin. Jim Bowie: Michael Beck. Stephen Austin: James Stephens. A.k.a.: "Houston: The Legend of Texas." Directed by Peter Levin.

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Dwayne Johnson Shares Blunt View on Woke Cancel Culture and Political Endorsements: 'That Might Make People Upset. That's Okay'

Dwayne Johnson has declared that he will not be using his social media standing to influence this year's U.S. elections.

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Dwayne Johnson has taken a shot at “woke” cancel culture and explained why he won’t be making any political endorsements during the upcoming presidential elections. As the self-proclaimed “most followed man in the world,” Johnson has decided to keep his thoughts on the matter to himself, as he doesn’t like the divisions such forthright speaking brings with it.

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The wrestler-turned-actor has a healthy slate of movies coming up, including a return as Maui in both the animated sequel to Moana and its live-action reboot, and his Christmas movie Red One , but it seems that after previously using his position of influence to help evict Donald Trump from the White House, he will not be making his political affiliations known this time around.

As per Variety , Johnson has learned that he is not a fan of the way his previous toe-dip into the world of political endorsements led to a lot of division amongst his followers, and he says there is enough of that out there caused by “woke culture. ” Touching on that subject, Johnson shared his blunt but straightforward way of approaching cancel culture, saying:

Today’s cancel culture, woke culture, division, etc — that really bugs me. In the spirit of that, you either succumb to that and be what other people want you to be, or you be yourself and be real … and that might make people upset and piss people off, and that’s okay.

Dwayne Johnson Will Not Make any Big Political Endorsements in 2024

After giving his personal approval to Joe Biden’s presidential campaign in 2020, Johnson found his fan base split over his statements in favor of the Democrat’s appointment as the 46th President of the United States. This time, he will be avoiding that same kind of divisive move by not sharing any political statements on his social media accounts. He said:

“The endorsement that I made years ago with Biden was one I thought was the best decision for me at that time,” Johnson explained, as quoted by Variety. “I thought, ‘I’m in this position where I have some influence and I felt it was my job then to exercise my influence [and] share: This is who I’m going to endorse.’ I’m not going to do that. I was then, the most followed man in the world, and am today, and I appreciate that… but what that caused was something that tears me up in my guts — which is division. That got me. I didn’t realize that then, I just felt like there was a lot of unrest and I’d like things to calm down.” Confirming that he'll not be endorsing any political candidates in 2024, the Jungle Cruise star added, "The takeaway after that was it caused an incredible amount of division. I realize now going into this election, I will not do that. My goal is to bring this country together. I believe in that. There will be no endorsement. At this level of influence, I will keep my politics to myself. It is between me and the ballot box. But I will tell you this: Like a lot of us out there, not trusting of all politicians, I do trust the American people and whoever they vote for that is my president and who I will support 100 percent.”

Dwayne Johnson Wants to "Make Films that Matter;" Will Produce Ric Flair Biopic

Dwayne Johnson recently teased his upcoming return to the Moana franchise, first as the voice of Maui in this year’s Moana 2 , and then again in a live-action version, which was recently pushed back to 2026 by Disney.

Dwayne Johnson’s Red One will debut on Prime Video on November 15.

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Gone to Texas (Blu-ray/DVD Combo)

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Denmark released, Blu-Ray/Region B : it WILL NOT play on regular DVD player, or on standard US Blu-Ray player. You need multi-region Blu-Ray player to view it in USA/Canada: LANGUAGES: English ( Dolby Digital 2.0 ), Danish ( Subtitles ), Norwegian ( Subtitles ), Swedish ( Subtitles ), SPECIAL FEATURES: Blu-Ray & DVD Combo, Interactive Menu, Scene Access, SYNOPSIS: Sam Elliot stars as Sam Houston, the visionary who nearly single-handedly forged the state of Texas into a powerful entity in its own right. Refusing to forget the Alamo (as if anyone could), Houston led the military in Texas' rebellion against Mexico. G.D. Spradlin co-stars as President Andrew Jackson, with Michael Beck appearing as Jim Bowie, James Stephens as Stephen Austin, and Richard Yniguez as Mexican General Santa Anna. Lensed on location in the Lone Star state, this sweeping made-for-TV film originally occupied three hours' screen time on November 22, 1986. Its title at that time was Houston: The Legend of Texas. ...Gone to Texas ( Houston: The Legend of Texas ) (Blu-Ray & DVD Combo)

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• MPAA rating ‏ : ‎ Unrated (Not Rated)
• Package Dimensions ‏ : ‎ 7.48 x 5.31 x 0.55 inches; 3.46 ounces
• Director ‏ : ‎ Peter Levin
• Media Format ‏ : ‎ Import, Blu-ray
• Run time ‏ : ‎ 140 minutes
• Actors ‏ : ‎ Sam Elliott, Claudia Christian, Devon Ericson, Michael C. Gwynne, Donald Moffat
• Subtitles: ‏ : ‎ Swedish, Norwegian, Danish
• Producers ‏ : ‎ Gone to Texas ( Houston: The Legend of Texas ) (Blu-Ray & DVD Combo), Gone to Texas, Houston: The Legend of Texas
• Language ‏ : ‎ English (Dolby Digital 2.0)
• ASIN ‏ : ‎ B009ZNU7BU
• Country of Origin ‏ : ‎ Denmark
• Number of discs ‏ : ‎ 1
• #814 in Westerns (Movies & TV)

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Movie Reviews

Tv/streaming, collections, great movies, chaz's journal, contributors, chicken for linda.

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I missed Chiara Malta and Sébastien Laudenbach ’s animated French escapade “Chicken for Linda!” when it premiered at last year’s Cannes, where it played the off-kilter ACID (Association for the International Distribution of Independent Cinemas) showcase. Ten minutes into this wacky yet frustratingly mournful film about a daughter’s angsty relationship with her widowed mother, a slap heard round the world lands on the bold young girl’s cheek. In that moment you can tell how this playful mishmash of abstract musical, existential dread, and bloodthirsty French children found its way into the festival’s alternative section. 

Tragedy has rendered Linda (voiced by Melinée Leclerc) into a deeply dissatisfied child: She suddenly lost her culinary father when she was a baby due to a dinnertime accident; her mother Paulette (voiced by Clotilde Hesme ) now fixes meals in the microwave; mom hasn’t been able to fix the leaky sink in their kitchen; she also refuses to let Linda wear her wedding ring, which catches the viewer’s eye via its glowing green shine. When the ring comes up missing, Paulette believes Linda’s traded the heirloom at school for a beret. As punishment, Paulette decides to drag Linda to the home of her Yoga instructor aunt Astrid (Lætitia Dosch); on the way, mother and daughter engage in a row that culminates with Paulette slapping Linda. “You can’t fix homes. You can’t fix anything,” fumes a wounded Linda.

From the outset, Malta and Laudenbach understand how casually callous a child can be when they’re dealing with grief. Children, of course, are naturally cruel. But Linda is something more; she’s on the edge of a kind of verbal viciousness whose barbs are aimed to kill. When Paulette realizes her error, apologizing to Linda—their fat purple kitty Gazza actually swallowed the ring—her daughter doesn’t immediately forgive her. Rather she asks that Paulette make chicken and peppers for dinner, seemingly the only memory she has of her father is him making the dish. Linda exerts overwhelming pressure on Paulette to come through, to the point that even a general strike, which closes all the grocery stores across Paris, doesn’t perturb her from finding the necessary ingredients. The stress motivates Paulette to steal a live chicken from a farm with aims of slaughtering it, sending mother and daughter on a careening odyssey that’ll put them on a collision course with a bumbling policeman, a lovesick truck driver, an elderly neighbor, and just about every kid in the neighborhood.         

There is a flavorful frivolity to “Chicken for Linda!” It’s the kind of film where musical sequences dedicated to stress eating candy and to the idiocy of dying over dinner gleefully divert us from the primary plot. For an animated picture composed of broad, confident brushstrokes, whose vibrant color palette cakes each character in unalterable textured hues—Linda is smeared in yellow and Paulette is smudged with orange—these digressions are a welcomed, poppy change from the immense dread that looms. Maybe I’m simple, but I sat transfixed at the fate of the chicken. I felt profound anxiety as it hit every corner of the frame in a wild scampering toward its several attempted escapes, zipped to high-speed effect by the oddball score. The tension is only lightened by the morbid humor espoused by Linda as she demands for the fowl’s slaughter, at least, until you realize that she isn’t joking—she actually wants the chicken to meet its maker.     

Despite the film’s abbreviated span, it’s a short 76 minutes, by the final stretch, it runs out of steam. Malta and Laudenbach imbue Linda with a zestful sincerity, but little else. We feel the pain that comes with losing a father at such a young age that you can barely remember him—but beyond that hurt, she feels depressingly one note. Children are often more introspective than we give them credit for, especially when it comes to confronting the realities of death. They have a frankness with themselves and those around them. The bluntness, here, however, is only ever directed by Linda at everyone else, forcing the dinner dish of chicken and peppers to become such a heavily-wielded metaphor that it eventually loses its meaning, intensity, and urgency as the narrative sways toward its wistful yet buoyant conclusion. 

That effect is partly intended: Linda processes her grief, therefore, the dish’s prominence is reduced. That latent bereavement is replaced by the chance at a new life, a new future, and a new family structure. That specter arrives rather suddenly, rather easily, without any complication of what those changes might mean for Linda and what other internal and external ways she has dealt with loss—from the hole left by the events she never experienced with her dad to the other physical objects of his memory that remain in her life. As a small amusement, “Chicken for Linda!” is an enjoyable enough lark. But its flightless emotional course leaves its profundity just out of range.       

Robert Daniels

Robert Daniels is an Associate Editor at RogerEbert.com. Based in Chicago, he is a member of the Chicago Film Critics Association (CFCA) and Critics Choice Association (CCA) and regularly contributes to the  New York Times ,  IndieWire , and  Screen Daily . He has covered film festivals ranging from Cannes to Sundance to Toronto. He has also written for the Criterion Collection, the  Los Angeles Times , and  Rolling Stone  about Black American pop culture and issues of representation.

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Film Credits

Chicken for Linda! (2024)

Mélinée Leclerc as Linda

Clotilde Hesme as Paulette

Laetitia Dosch as Astrid

Estéban as Serge

Patrick Pineau as Jean-Michel

Claudine Acs as Mémé

Jean-Marie Fonbonne as Le Chef

Milan Cerisier as Fidel

• Chiara Malta
• Sébastien Laudenbach

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Texas concedes law allowing judges to deport migrants may have gone ‘too far’

Solicitor general says in appellate hearing that SB4, paused from going into effect, may have gone beyond limitations of state laws

The state of Texas has conceded that it may have gone “too far” in passing a law last year that made entering the state illegally a crime and allowing state judges to order undocumented people to be deported.

The admission that Texas’s SB4 may have gone beyond the limitations of state laws, which typically bow to federal law on immigration matters, came at a hearing on Wednesday before the fifth US circuit court of appeals.

The Texas solicitor general, Aaron Nielson, told the court that Texas lawmakers had sought to go “up to the line” in terms of authority on immigration allowed by the US supreme court.

“Now, to be fair, maybe Texas went too far,” Nielson conceded during a hearing before the court that paused SB4 from coming into effect last week.

When asked what the statute had accomplished, Nielsen said it was Texas’s attempt to enforce federal immigration law that the Biden administration was failing to apply.

By some estimates, more than 8 million undocumented people have crossed into the US during Biden’s term, settling in border states such as Texas as well as cities including New York in large numbers.

“Of course, we know that presidents come and go, and different administrations might very well enforce federal law differently,” Nielsen told the court, according to CNN , and said that the law might not be necessary under a different administration.

Nielsen also said that under Texas’s interpretation of immigration law, people subject to deportation would be turned over to federal immigration authorities at border ports and that federal officials would then determine whether they should be released into the US.

Daniel Tenny, an attorney for the Department of Justice, argued that the appeals court should uphold its decision blocking the law, which came after the US supreme court permitted its enforcement only hours earlier.

During that brief window in March, Dan Patrick, the lieutenant governor of Texas and co-author of SB4, saluted what he called a “historic” decision that gave Texas “the right to arrest, prosecute and return anyone who enters Texas illegally”.

The supreme court’s conservative majority did not offer a reasoning for allowing SB4 to go into effect, though in dissenting opinions the liberal justices Sonia Sotomayor and Ketanji Brown Jackson accused the rightwing justices of inviting “further chaos and crisis in immigration enforcement”.

Sotomayor said the Texas law “upends the federal-state balance of power that has existed for over a century, in which the national government has had exclusive authority over entry and removal of non-citizens”.

The White House also strongly criticized the court for allowing what it called a “harmful and unconstitutional” law.

“We fundamentally disagree with the supreme court’s order allowing Texas’s harmful and unconstitutional law to go into effect,” said the White House press secretary, Karine Jean-Pierre. “SB4 will not only make communities in Texas less safe, it will also burden law enforcement and sow chaos and confusion at our southern border.”

With SB4 now effectively neutralized, Texas is pursuing other measures to deter people from crossing the border, including deploying national guard troops and installing concertina wire and a floating barrier along the Rio Grande.

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Stream These 12 Movies Before They Leave Netflix in April

A Ryan Gosling detective comedy, a Formula One racing drama and the romantic musical “Mamma Mia!” are among the movies exiting the streaming service.

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By Jason Bailey

Fast cars, jazz drummers, time travelers, bounty hunters — you’ll find everything but the kitchen sink in this month’s roundup of noteworthy titles leaving Netflix in the United States. (Dates indicate the final day a title is available.)

‘The Nice Guys’ (April 8)

Stream it here .

Ryan Gosling is having a bit of a moment — he may not have won the Oscar for best supporting actor, but he won the Oscars telecast for his performance of “I’m Just Ken” — and those who prefer the intense actor in his loosey-goosey comic mode would be wise to check out this 2016 comedy-mystery. Gosling stars as a bumbling private detective who teams up with a bone-breaker-for-hire (an uproariously gregarious Russell Crowe) to solve a convoluted missing person case. The co-writer and director is Shane Black, who helped popularize the buddy-action comedy with his “Lethal Weapon” screenplay, and subsequently perfected it here and in “Kiss Kiss Bang Bang.” Keep an eye out for the up-and-comers Angourie Rice (“Mean Girls”) and Margaret Qualley (“Drive Away Dolls”) in supporting roles.

‘Rush’ (April 15)

Ron Howard spent a fair amount of his youth appearing in vroom-vroom car movies like “American Graffiti,” “Eat My Dust” and “Grand Theft Auto” — the latter marking his feature directorial debut — so it’s not surprising that he was drawn to this thrilling dramatization of the mid-70s glory days of Formula One racing. He tells the story of a rivalry between two of the sport’s stars: James Hunt (Chris Hemsworth) and Niki Lauda (Daniel Brühl), a study in contrasts, the matinee idol and the ugly duckling, the party boy and the teetotaler. The nuanced screenplay by Peter Morgan (who penned Howard’s earlier “Frost/Nixon,” and would go on to create “The Crown”) mines the complexities of their relationship, while the thrilling race sequences effectively place us in the driver’s seat through the hairiest moments of trading paint.

‘Synchronic’ (April 15)

Justin Benson and Aaron Moorhead make brainy sci-fi pictures, small-scale indie movies like “The Endless” and “Something in the Dirt” that traffic in ideas over special effects. This 2019 effort was the closest they’ve come to a play for the cinematic mainstream, casting Marvel mainstay Anthony Mackie and “Fifty Shades” star Jamie Dornan in the leading roles. But their signature style and thematic occupations remain thankfully intact in this tale of two New Orleans paramedics who discover the mind-bending effects of a new designer drug. The central conceit is ingenious, but the filmmakers don’t just rely on its cleverness; there are genuine, human stakes, and the payoff is refreshingly poignant.

‘The Hateful Eight’ (April 24)

Quentin Tarantino followed “Django Unchained” by again riffing on the venerable Western genre, this time by crossing it with the Agatha Christie-style “locked room” mystery. He populates his story, of a poisoning in a tucked-away haberdashery during a deadly blizzard in the post-Civil War West, with faces familiar from his previous films, including Samuel L. Jackson, Kurt Russell, Tim Roth and Michael Madsen; they’re joined by an Oscar-nominated Jennifer Jason Leigh, in a particularly foul-mouthed and ill-tempered mood. Tempers flare, blood is shed and vulgarities fly in typical Tarantino fashion, but in its unflinching portraiture of the racial hostilities of a splintered country, the work is by no means exclusive to its period setting. (Also leaving on April 24: the Netflix-exclusive “ The Hateful Eight Extended Version ,” which adds footage and breaks the film up into four one-hour episodes.)

‘Malignant’ (April 26)

James Wan started out directing bone-crunching horror pictures like “Saw,” “Insidious” and “The Conjuring” before going mainstream with “Furious 7,” “Aquaman” and its sequel. Between those two superhero flicks, he directed this gloriously unhinged, go-for-broke horror thriller, in which a young woman (Annabelle Wallis) is haunted by visions of grisly murders — visions that prove to be true, and suggest some sort of a psychic link to the brutal killer. If that sounds slightly peculiar, boy, just you wait . The screenplay by “M3GAN” writer Akela Cooper (with story assists from Wan and Ingrid Bisu) is an admirably unrestrained trip into the genre’s wilder corners, full of inventive kills, bananas story turns and cuckoo supporting characters, all rendered in a baroque, hurdy-gurdy visual style.

‘13 Going on 30’ (April 30)

Just in time for its 20th anniversary on April 23, this likably goofy and endlessly charming romantic comedy is, essentially, a gender-swapped remake of the beloved “Big,” this time with Jennifer Garner as a 13-year-old whose birthday wish to be “30 and flirty and thriving” unexpectedly comes true. Garner is warm and endearing, a loose-limbed wonder at capturing the awkward gawkiness of a teen trapped in an ill-fitting body, while recent Oscar nominee Mark Ruffalo finds just the right mixture of confusion and sweetness as her childhood friend who’s become quite the babe.

‘Fried Green Tomatoes’ (April 30)

Fannie Flagg’s best-selling book “Fried Green Tomatoes at the Whistle Stop Cafe” got the big-screen treatment in 1991, via director Jon Avnet (“Up Close and Personal”). It tells two stories: Kathy Bates is a housewife who finds escape from her unsatisfying life in the stories a nursing home resident (Jessica Tandy) tells her about her hometown; Mary Stuart Masterson, Mary-Louise Parker and Cicely Tyson are among the residents whose yarns she spins. Some of the edges of Flagg’s book have been sanded down to make this cozy sweater of an adaptation, which is regrettable — but as it stands, it’s a lovely film, capably crafted and poignantly played.

‘Twins’ / ‘Kindergarten Cop’ (April 30)

Stream ‘Twins’ here and ‘Kindergarten Cop’ here .

Arnold Schwarzenegger may have put on a stone-faced persona for his breakthrough role in “The Terminator,” but there was always a sly sense of humor to his performances in even his most serious action movies. So it wasn’t a huge stretch when he teamed with “Ghostbusters” director Ivan Reitman to make his first starring comedy, 1988’s “Twins,” alongside Danny DeVito — a broad and sometimes obvious high-concept giggle-fest that is carried considerably by the charisma and chemistry of its leads. It was such a big hit that Schwarzenegger and Reitman re-teamed two years later for “Kindergarten Cop,” which found the star pointedly sending up his own tough-guy image as a bruiser of a big-city cop who goes undercover in a suburban grade school.

‘Mamma Mia!’ / ‘Mamma Mia! Here We Go Again’ (April 30)

Stream ‘Mamma Mia!’ here and ‘Here We Go Again’ here .

The long-running Broadway jukebox musical , featuring the zippy music of the ’70s pop group Abba, was something of a punchline for New Yorkers, a go-to example of how far the Great White Way had gone in its relentless pursuit of tourist dollars. But the 2008 film adaptation (directed, as the stage production was, by Phyllida Lloyd) is altogether irresistible, offering up the peculiar but undeniable pleasure of heavyweight thespians like Meryl Streep, Stellan Skarsgard and Amanda Seyfried indulging in their inner theater kid. It was such a hit that most of the major players returned a decade later for “Here We Go Again” — and while it doesn’t quite match the frothy pleasures of the original, it does add Cher, and that’s not nothing.

‘Whiplash’ (April 30)

The “La La Land” director Damien Chazelle’s breakthrough feature was this 2014 hybrid of sports movie and musical melodrama, in which a young jazz drummer (Miles Teller) at a Juilliard-inspired music school comes under the tutelage — or, perhaps, the thumb — of a tough-as-nails professor and conductor (J.K. Simmons). It’s a complicated tale, working within an established milieu while simultaneously interrogating it, and grappling with the implications of time-told tales of the sacrifices one must make in pursuit of excellence. Teller is an ideal anchor for such a story, projecting a mixture of both arrogance and uncertainty, and Simmons deservedly won an Oscar for his nightmare-fuel performance as the merciless mentor.

ALSO LEAVING: ‘ Marshall ’ (April 7); ‘ The Zookeeper’s Wife ’ (April 15); ‘ Train to Busan ’ (April 22); ‘ Apollo 13 ,’ ‘ Elvis ,’ ‘ Erin Brockovich ,’ ‘ Joker ,’ ‘ Jurassic Park ,’ ‘ Silver Linings Playbook ,’ ‘ Step Brothers ’ (April 30).

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Gone to Texas! (2021)

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