Killing Machine

***SPOILERS*** Pulling off a number of bank robberies that resulted in the deaths of two bank tellers this trio of ruthless gangsters run into two local youths on the side of the road in the open countryside. Needing a different car, with new license plates, the three bank robbers Dineili Ackerman and LeRoy, Louis Zorich Cec Linder & Michael J. Pollard, cold-bloody gun down the driver Timmy Peterson, Ralph Endersby, and his girlfriend Jennifer Logan, Susan Petrie, and then head for the open highway.

Finding that all the roads out of Field County are blocked by local and highway police the three take off on foot looking for a place to stay until the heat's off and then make their escape. Seeing this farm in, what seems like, the middle of nowhere the three killers descend on it like a pack of wolves first cutting the phone lines and then pompously walking up to the front door to make their grand and murderous entrance; they didn't know it at the time but they'll find out soon enough that they walked right into the teeth of hell.

Disturbing and violent vigilante-like movie that leaves you in a state of shock with Ernest Borgnine as the peaceful and church going farmer Adam Smith. Adam uses his own brand of biblical justice, to avenge the blood of those who these three murderers spilled, that in a way made him far more vicious then his gangster victims.

At home with his grand daughter Lucy, Hollis McLaren, Adam spots through the window the killers moving in on his house and, knowing who they are and what they did from radio reports, sets a trap for them. Blasting the #1 man, Dineili, of the trio almost in half with his shotgun as he was allowed by Adam to entered the house Adam takes the other two, Ackerman and LeRoy, prisoner and puts them through such a hell that in the end they wished that the police got to them before Adam did.

Even though Adam Smith is well within his rights to defend his home and farm from the three criminal desperadoes what he did to them makes you wonder just who's more of the villain and psychopath in the film him or they. Instead of holding the two remanding bank robbers captive until the police come to take them into custody, like his grand daughter Lucy wanted him to do, Adam put them though the ringer by almost hanging them in his basement, with only their tip toes keeping them for getting strangled. Later Adam has Ackerman run for his truck, to drive back to town and get the police to come over, as he turns his two dogs Peter & Paul on Akerman who tear him to pieces.

LeRoy the most vicious of the three who Adam really wanted to do in gets saved by the police, whom Lucy got to come over, but later carjacks the patrol car killing the two officers. It's then when LeRoy comes back to the farm to get even with what Adam did to him that turned out to be the biggest, and last, mistake he was ever to make.

Even though Adam Smith is the avenging angel in the movie it's hard to really like him even though he saves everyone, himself his grand daughter Lucy and farm hand Luke (Vladimir Valerta), from the three killers. I just wondered how many people watching the movie would want him as a next door neighbor!

Really great performances by Ernest Borgnine and Michael J. Pollard, but ultimately, I was disappointed. I usually appreciate these mid 1970s movies for stylistic and nostalgia reasons and this movie is definitely pretty to look at (nice cinematography) but the plot sort just kind of goes flat.

Basically, the story revolves around the conflict between a God fearing farmer and three desperate and ruthless bank robbers. But it takes almost 40 minutes before the bank robbers first encounter the farmer.

Then, the conflict sets up all sorts of potentials, none of which are truly realized.

I suspect the theme of this movie is "Who is the real bad guy?" (Anti-hero) which is typical of the morally nebulous movies of the 1970s. ('Death Wish' and 'Dirty Harry' being two of the classic examples of this theme.)

The great acting of Borgnine and Pollard carry the movie despite the unsatisfying plot. But its just a 5/10 overall.

Three bank robber killers, including "loose cannon" (Michael J. Pollard), become trapped by roadblocks in the rural countryside. Abandoning their stolen vehicle, they hike to a distant farmhouse. Prepared and waiting is a church going farmer (Ernest Borgnine), his granddaughter, and an oafish farmhand. The three uninvited guests are ambushed by Borgnine, taken prisoner, and routinely tortured. As minutes pass, Borgnine becomes less and less stable, and more and more unhinged, leaving the granddaughter as the only hope for sanity to prevail. Although Borgnine gets to deal out his own brand of justice, it comes at a very high price. - MERK

This baby fully represents my personal favorite kind of cult cinema! Released in the early 70's, obscure and almost completely untraceable, opening to the tunes of a moody and excessively outdated crooner's song whilst picturesque images of the peaceful countryside accompany the opening credits and – last but not least – introducing hard-laboring but conservative and slightly unworldly farmers as the lead characters. There's a proper name for this kind of movies and it's called "Hicksploitation". But "Sunday in the Country" is definitely more than just that! Obviously cashing in on the tremendous success of Sam Peckinpah's "Straw Dogs", this Canadian produced gem shamelessly glorifies urban violence and entirely revolves on the "protect what's yours" principle. It's also a revenge/vigilante thriller, but not the ordinary type. Usually the protagonists in revenge-thrillers themselves, or their dearest relatives, are subjected to torture and humiliation before extracting their well-deserved vengeance, but the lead character in "Sunday in the Country", farmer Adam Smith (another fabulous and expedient role of Ernest Borgnine), never really becomes directly affected by criminal violence and simply does what he does because he thinks the law isn't harsh enough. Smith is a seemingly noble widower, looking after his farm and granddaughter without ever missing a Sunday morning church service. On this particular Sunday, three relentless bank robbers (two of which resembling sophisticated bankers themselves instead of violent criminals) are at large in the countryside and have already butchered a young local couple before seeking refugee in Smith's secluded farming estate. But he's prepared for their arrival and grabs the opportunity to extract some good old-fashioned Biblical punishment on them rather than to notify the police. It may superficially look like a senselessly violent and sadistic exploitation flick, but "Sunday in the Country" is actually far more competent and inventive than it first seems. The plot juxtaposes two entirely different types of psychopaths and leaves it up to the viewer to decide who's the most dangerous. On the one side there's Leroy the outrageously spastic and most likely Atheist criminal and, opposed to him, the obsessively Catholic and stoically controlled trigger-happy farmer with his own brand of justice. It's a nice little psychological undertone to a seemingly bland and rough exploit movie. The violence & bloodshed is quite uncompromising, Ernest Borgnine and Michael J. Pollard are amazing (the rest of the cast can be ignored, though) and the atmosphere is undeniably 70's. A must-see for hillbilly-connoisseurs.

For a 1970s film Sunday in the Country was not difficult to watch.

Through it's action, the movie demonstrated the randomness of life and the unfathomable nature of humans. Sometimes things just happen and sometimes people do things for reasons others cannot understand. Certain situations bring out aspects of a person we didn't know existed.

This is more than a B movie and perhaps deserves a higher star rating than my six. Watch it if you're looking for more questions than answers and subtleties wrapped in violence.