The LEGO Movie 2: The Second Part
The Walking Dead
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Arguably the greatest of the spaghetti westerns, this epic features a compelling story, memorable performances, breathtaking landscapes, and a haunting score.
All Critics (68)
| Top Critics (13)
| Fresh (66)
| Rotten (2)
| DVD (17)
All three arrive at the cache at the same time. Who gets it? Director Leone doesn't seem to care very much, and after 161 minutes of mayhem, audiences aren't likely to either.
The new length gives a clearer view of the civil war context: a nightmare of panic as the south flees before the Union's advance.
The third in the Clint Eastwood series of Italo westerns, The Good, the Bad and the Ugly is exactly that -- a curious amalgam of the visually striking, the dramatically feeble and the offensively sadistic.
Though ordained from the beginning, the three-way showdown that climaxes the film is tense and thoroughly astonishing.
Sergio Leone's grandiose 1966 western epic is nothing less than a masterclass in movie storytelling, a dynamic testament to the sheer, invigorating uniqueness of cinema.
Sergio Leone's epic looks good, almost great, restored to its original running time.
But "GBU" remains the iconic piece for all time.
There are two kinds of people, my friend. Those who love Sergio Leone's The Good, the Bad and the Ugly (1966) and those who resist the machismo and gallows humor of what is arguably the definitive spaghetti western.
Leone's liberal use of widescreen shots in conjunction with extreme close-ups gives the movie an epic quality that is matched in scope by a skeletal narrative structure that breathes with a poker-faced mood, tone, and personality.
A unique vision of the American West as place of desolation and ruin on a truly epic scale.
The defining spaghetti western pits a charismatic Clint Eastwood against partner and nemesis Eli Wallach and perpetual enemy Lee Van Cleef.
Potent Italian-Western shoot-'em up/war drama.
One of the best films I ever saw!. Fresh.
Leone reaches the level of absolute perfection in this third film of his Dollar Trilogy, a magnificent Spaghetti Western - arguably the best of them all - that features fantastic performances, an unforgettable score and a sublime, breathtaking cinematography.
Three outlaws pursue a cache of gold hidden in a grave.
While canonical, this film is oddly structured with its inciting incident pushed to an hour and fifteen minutes into its three-hour run time. What the film is saying about goodness (or ugliness or badness) is unclear as the "good" is just as bad as the "ugly," but I can imagine that it's attempting to show that morality is more contextual than absolute, creating, as it does, an environment in which everybody is immoral even the Union and Confederate troops, who seem to be passing through this film on their way to another.
Beautifully shot and operatic in scope, the filmmaking is remarkable even if the story-telling is perplexing.
Overall, this classic western isn't bad or good or ugly, just moderately interesting.
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