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View All Duck, You Sucker (A Fistful of Dynamite) (Giù la testa) News
All Critics (22)
| Top Critics (6)
| Fresh (20)
| Rotten (2)
The idiosyncrasies are there, all right, but they have never seemed less interesting.
The most wry of the political spaghettis, and wholly wonderful.
Features one of the most glorious and unforgettable scores by Leone's composer, Ennio Morricone.
The new print is good, and the 20 restored minutes are choice.
The combination of Leone's obsessive close-ups, Ennio Morricone's melodious music, and the comradely chemistry of Coburn and Steiger ignite an emotional explosion comparable to that of Once Upon a Time in the West.
A marvelous sense of detail and spectacular effects -- good fun all the way.
dark, gritty Leone classic ready to be rediscovered
As with most Leone works, A Fistful of Dynamite (which also made the rounds under the monikers Duck, You Sucker and Once Upon a Time ... the Revolution) is full of sly humor and startling camerawork.
A fascinatingly disjointed hybrid of Western and combat film.
Impossibly virile and caustic
One of Leone's best movies -- and one of his looniest, which may be exactly why it's one of the best.
Not exactly classic Leone, but enjoyable nonetheless as many of the great elements are in place: maverick heroes, action, and Ennio Morricone music.
A minor classic that sadly pales in comparison with those other superior films made by Leone, but still this is a great Western about friendship in a political revolution, with some mesmerizing performances and an enchanting melancholy score by Ennio Morricone.
This great film gets harsh judgement after the masterpieces that Leone directed before it., but put it up against any other Italian Western or any other Western for that matter and it's still a classic. James Coburn and Rod Steiger are great and this film features one of Morricone's greatest scores.
Another solid Leone film. Thematically it feels as though it were a companion piece to The Good, The Bad, and The Ugly. While the characters may not be as memorable as the ones that Eastwood, Wallach, and Cleef created, Coburn and Stieger really hold their own. (In fact, Steiger's performance is so solid that I am almost convinced that DePalma later lifted many of Stieger's mannerisms for his remake of Scarface.) Although it isn't as visually enthralling as TGTBTU, Leone still crafts some scenes that make the viewer wonder how he dreamed up such a sequence. Being Leone's last Western, fans can at least rejoice that he ended on a good note.
Once Upon a Time the Revolution (yeah, that's how it should be called) lives in the shadow of Leone's previous westerns. It's a shame because this is a solid fun film, with stronger character developement than any of the films in the dollars trilogy. Juan Miranda and John Mallory are complex characters, and the heavily political plot shows a more ambitious Leone. Even that he didn't wanted to direct this at first you can see his touch all over the place.
While things get a bit complicated towards the middle, with the film not showing several moments in between other key moments, the story stays strong all the way to the end. Morricone composes one of his most gorgeous and haunting scores ever, right there with Once Upon a Time in the West.
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