Paul Landres directs and George Waggner writes Man from God's Country, a film featuring George Montgomery, Randy Stuart, Gregg Barton, Kim Charney, Frank Wilcox, Susan Cummings, James Griffith and House Peters Junior. This CinemaScope/De Luxe production has music by Marlin Skiles and cinematography by Harry Neumann. Dan Beattie (Montgomery), once a soldier in the Civil War, now works as sheriff in Yucca. After being found not guilty of killing someone considered trouble-making, he resigns because of his beliefs and travels to Sundown hoping to reconnect with an old comrade Curt Warren (Peters Jr). However, Dan discovers that Sundown is controlled by Beau Santee (Wilcox), a questionable businessman who wrongly believes Dan is connected to the railroad company wanting to build a line through town. This situation creates complications, putting friendships and families at risk. This obscure Western from the late 1950s, Man from God's Country, is a typical low-budget film that doesn’t quite live up to the ideas it explores. There are some interesting aspects, though nothing presented in a more effective way within other Westerns of the decade. The railroad represents an ominous presence, causing suspicion and betrayal as Dan inadvertently triggers Sundown's hidden secrets and lies to surface through violence, confrontations, and emotional distress. The film moves along well thanks to TV director Landres, and Waggner’s script is thoughtful and has some value. The acting is generally unremarkable, although Montgomery (resembling a less famous version of Charlton Heston) performs admirably as the strong, masculine figure at the center of this production; like Heston, he appears capable of delivering a convincing punch. Shot on location at Iverson Ranch in Chatsworth, California, there are some attractive outdoor scenes captured by Neumann, and the costumes and color palette are quite pleasing. At 72 minutes long, the film avoids feeling drawn out. The focus is more on possible psychological depictions of characters than action sequences, which isn’t necessarily a bad thing, even if it's frustrating because the characters aren't developed enough. The limited action is presented in brief bursts, and ultimately the conclusion, which is predictable, feels rushed and doesn’t fully do justice to the good versus evil theme that director and writer attempted to build. 6/10

Source on TMDB