Joeun nom, napun nom, esanghan nom

This is a stunning visual film to watch. The cinematography is exceptional through-out the movie. The framing, the lighting and the colors are outstanding. This alone makes the movie a joy for me to see.

The problem with the film is that it lacks depth. The director uses archetypes from the Italian Westerns of the 1960s and 1970s. Some of the dialogue and action is lifted directly from Sergio Leone's "man without a name" opus. Most obviously The Good, The Bad and the Ugly; but also a heavy splattering of the others. The problem is not the reworking of Leone's work, but I do not think the director quite understands how to work subtext into his script. In fact, the director leaves far too much exposition to the end which makes the movie drag at the end of the epic battle scene (I thought this might be a cultural issue, but I do not know if it is).

Another thing that bothers me (and here comes my western sensibilities), I know stunts.... and there were horses hurt during the filming of the battle scene. The reason I say this is that I could see trip wires. So for the photography I give this film 6 points out of 10. I also suggest that the director rent some of the Ford Westerns. As good as Leone was Ford was better.

This is a real blast. A London Film Festival viewing this afternoon and my jaw dropped during the opening. This may have the most stunning opening of any film, I certainly can't think of any other contenders at present, with crazy music, a landscape out of a dream, soaring birds of prey and a great big steam train. The camera and hence the audience are everywhere, this side, that side above, below and even in the smoke from the engine. Previously there has been some set up to accompany the credits and then we are away. This film does not let up so if it is not non-stop action you are after you had best avoid. For all sensible folk this is a mind blowing exercise in action cinema. Loud, violent and stunningly shot this is awe inspiring stuff and with a comic edge too. I spent half the time with my mouth agape and rest with a broad smile. I have heard some criticise this for lack of storyline and certainly there is minimal narrative flow here as we are sped on by sheer excitement and amusement. Fantastic entertainment on a massive scale. Large screen viewing recommended.

Of the few Korean films i have seen , the best word to describe them all is eccentric and The Good The Bad & The Weird certainly lives up to that. This movie looks fantastic , almost epic like and you can see a lot of money was spent on the set . It really does have the feel of a western and the three main characters are all very interesting in their own right. The story is a simple one , three men ( and their cronies) are after a treasure map and they will do anything to get hold of it. The minus points of this film are that its half an hour too long and that at times it's to frenetic. Because of the constant action you get a little bombarded with it after a while. On the whole i enjoyed this film but im not too sure i would ever watch it again.

As a fan of "The Good, The Bad and The Ugly" I was intrigued when I saw a film entitled "The Good, The Bad, The Weird", when I saw it was a Korean western set in the deserts of Japanese occupied Manchuria I just had to see it even though I was sure it wouldn't be as good as it sounded... thankfully I was wrong, the plot may have been slight but the action was relentless and frequently very funny.

While it was obviously inspired by "The Good, The Bad and The Ugly" it was not a remake, the main similarities where the three main characters; Once again The Good was a bounty hunter, The Bad was a sadistic killer and The Weird replaced The Ugly as the comic relief. The plot involves The Weird robbing a train, amongst the items he steals is a map... a map The Bad was planning to steal as well although he is interrupted when The Good arrives with the intent of collecting the bounty on him. In the confusion The Weird escapes and the rest of the film follows the attempts of The Bad, a group of bandits and the Imperial Japanese Army trying to get their hands on the map.

The action is spectacular and well done with numerous gunfights, knife fights and chases on foot, horseback, motorbike and car. While there is a focus on action the characters are fun too, especially The Weird who stole the show. While it is a comedy it does feature a few violent scenes which some viewers expecting only laughs might not like, I know I winced when one character tried to cut off another's finger with a knife.

I'd definitely recommend this to fans of westerns who are looking for something different as well as to fans of Asian cinema.

Off-kilter Korean neo-western "The Good, the Bad, the Weird," is a frenetic genre mash-up packed with visceral, loopy violence. That isn't a complement so much as it is a description.

Suffice it to say, if you're into a modernist, freewheeling foreign take on Leone's "The Good, the Bad, and the Ugly," with cartoony characters and outrageous action, you're going to have a blast; if you're looking for a substantive or meditative reflection on the period or the original film, you're in the wrong line.

Personally, I'm caught between the two perspectives. I appreciate the pure Peckinpah punch of the gunplay, but was in equal parts bored and bewildered by the overall film. Perhaps the principal flaw in writer/director Ji-woon Kim's script is that he indulges in too much of a good thing. His action sequences are a lot of fun, and the über-stylized retro/modern aesthetic delivers bizarre and inventive visuals like a gunslinger in a deep-sea diving helmet.

But the deafening sound effects and quick cutting style wear thin if not appropriately paced, and "The Good, the Bad, the Weird," is almost relentless in its drag race to the final showdown. I'm loathe to draw a comparison to "Transformers" here, but Kim proves that even good action has a threshold, and there are times in his film where it's easy to let your eyes glaze over.

In its more quiet moments, the story, a very loose retelling of "The Good, the Bad, and the Ugly" follows a band of misfit thieves who come into possession of a treasure map sought by both Chinese thugs and the Japanese military. What's maybe most interesting about the film is seeing the conventions, chronology, and geography of the western customized to fit eastern ideology, and China's Taklimakan desert stands in for Manchuria circa 1940.

The tone is played as loose as the history, however, and Kim is never bogged down by self- seriousness or the oft-stringent requirements of a period piece. "The Good, the Bad, the Weird" is closer to a gleeful "Kill Bill" in tone than South Korea's own operatic, ultraviolent "Oldboy," and benefits from it. Kim easily leapfrogs from hard-hitting shoot-outs to charming comedy, a phenomenon that has everything to do with his incredible cast. Each of the title characters, Park Do-won (Good), Park Chang-yi (Bad), and Yoon Tae-goo (Weird), brings with him a distinct tonal octave that lends the film some much-needed variety. My lone gripe in this department is that it would have been nice to get to know them a little bit better. As it stands, their rifles seem to have far more to say.

And for many, that won't be an issue. I've no question that there exists a very appreciative audience for this film—I'm just not it. Nevertheless, I'm only too happy to report that everything basically works. The cinematography is frequently gorgeous, the performances are stellar, and the action is kinetic—There's just too much of it. By the end of the two-hour engagement, what should be a satisfying, visceral finale comes off as extravagant hoopla.

As viewers we shouldn't be conditioned to expect non-stop action, because once you pass the threshold, there's a diminishing return on adrenaline, impressive as any sequence that follows may be. "The Good, The Bad, The Weird" gets all its forward momentum right, but could benefit from applying the brakes more frequently.

Then again, maybe that reckless pace is what made it such a fast, fun ride to begin with.