Film
The Great Scout & Cathouse Thursday
A rowdy 1976 Western comedy about three aging prospectors who reunite to extract revenge—and cash—from the partner who cheated them decades earlier. It's broad, bawdy, and shambling, with Lee Marvin and Oliver Reed as unreliable antiheroes stumbling through escalating schemes. For fans of scrappy, irreverent Westerns that prioritize laughs over gunslinging.
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Johnny Dangerously1984
A similar blend of period setting, ensemble comedy, and deliberately outrageous plotting. Delivers consistent laughs through sheer confidence in its own ridiculousness, with a game cast committed to the chaos.
But The humor can feel scattered—it's shotgun comedy, firing in all directions. Some jokes land harder than others, and the pacing sometimes meanders.

The Sting1973
Two aging con artists reunite for one last scheme, with perfect chemistry and a film that knows exactly when to let you in on the joke. Effortlessly charming, beautifully constructed, genuinely clever.
But It's a heist film first and foremost. If you're expecting something as raw and unhinged as Great Scout, this is far more polished and controlled.

Butch Cassidy and the Sundance Kid1969
Western outlaws playing against type as charmers and comedians, with anarchic energy and genuine affection between the leads. A masterclass in mixing action with humor and character.
But The tone is more balanced and melancholic than this film's relentless cheerfulness. Not quite as interested in pure slapstick.

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The wildcard
Something you would not have found on your own.
Fiddlers Three1944
Both films are ensemble comedies where plot is secondary to watching likeable misfits create chaos together; neither film apologizes for not making perfect sense.
Three bumbling sailors are transported to ancient Rome in this absurdist wartime comedy. Crude, anarchic, and completely indifferent to logic—the pure spirit of 1940s slapstick mayhem channeled into a buddy film.
But It's in black and white and made during wartime, so the humor is broad to the point of pain. Some gags haven't aged. The plot is nominal at best.

More like this (8)
The Long Goodbye1973
Robert Altman's shambolic riff on genre conventions, where aging masculinity meets a world that's left it behind. Funny, sad, and endlessly rewatchable beneath its sprawl.
But It's oblique and meditative, almost the opposite of straightforward. Some find Altman's aesthetic self-indulgent. You have to surrender to its rhythms.

Hard Times1975
Charles Bronson and James Coburn as aging drifters scraping for dignity and cash during the Depression. Lean, grounded, and unexpectedly moving about men past their prime.
But It's far more serious and elemental than a comedy romp. The humor is incidental to the survival story, not its engine.

The Ballad of Little Jo1993
A revisionist Western that deconstructs frontier mythology while being genuinely entertaining. Maggie Sincaid is superb, and it finds depth in the dusty, hardscrabble West.
But It's primarily a drama about gender and survival, not a comedy. The tone is closer to irony than to the warmth these three prospectors share.

Pat Garrett & Billy the Kid1973
Peckinpah's elegiac, messy Western about old lawmen, old outlaws, and the world that's obsoleting them. Lyrical, violent, deeply strange, with a Dylan score that haunts you.
But It's poetic and elegiac where Great Scout is breezy. Some cuts are famously compromised, and the pacing frustrates impatient viewers. Deliberately difficult.

Viva Zapata!1952
Marlon Brando as a Mexican revolutionary, with Kazan directing and a script that's interested in power, idealism, and corruption. Epic and intimate simultaneously, with real political weight.
But It's a serious historical drama, not a comedy at all. The moral stakes are genuine. The language can feel mannered by modern standards.

The Ballad of the Sad Cafe1991
An offbeat ensemble piece set in the rural South, exploring love and belonging among misfits. Warm, strange, and willing to sit with melancholy. Features Vanessa Redgrave and Keith Carradine.
But The pacing is slow and deliberate. It's a small film with modest ambitions. Some may find it precious or overly literary in its sensibility.

Ballast2008
Both are stories about broken men and women from the margins of society attempting connection and rebuilding; both are interested in dignity rather than sympathy.
A documentary-like drama about three damaged people in rural Mississippi learning to trust each other after tragedy. Quietly profound, observant, and filmed with extraordinary precision. Deeply moving without sentiment.
But It's the opposite of entertainment—it's demanding, slow, and asks you to sit with grief. No jokes, no easy catharsis. Many will find it too austere.

The Lavender Hill Mob1951
Both celebrate aging men of limited prospects who refuse to accept obsolescence; both find comedy and dignity in schemes hatched by the desperate and clever.
Five ordinary, age-worn Londoners plan a gold heist. It's Ealing comedy perfected: impeccable ensemble work, genuine affection for its characters, humor that comes from character rather than gags, and a joy in watching capable people execute a plan.
But It's British and from 1951, which means restraint and understated timing. If you need broad physical comedy and profanity, this will feel quaint and slow.

People
Cast
Lee MarvinSam Longwood
Oliver ReedJoe Knox
Robert CulpJack Colby
Elizabeth AshleyNancy Sue
Strother MartinBilly
Sylvia MilesMike
Kay LenzThursday
Howard PlattVishniac- Jac ZachaTrainer
- PhaedraFriday
- Letícia RoblesSaturday
- Luz María PeñaHolidays
Directing
- Don TaylorDirector
- José Luis OrtegaScript Supervisor
Writing
- Richard Alan ShapiroWriter
Production
- Richard Alan ShapiroAssociate Producer
- Samuel Z. ArkoffExecutive Producer
- David KordaProducer
- Jules BuckProducer