Le bon, la brute et le cinglé

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.

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.

I was lucky enough to see this film in a big cinema complex in the centre of Seoul, South Korea, yesterday. It is surprisingly difficult to find big Korean releases with English subtitles, so seeing Jin-Woon Kim's new film, which i have been looking forward to for well over a year, was a pleasant experience. Unfortunately everyone in the west will have to wait a little longer...

As with all of Jin-Woon Kim's films i have very little criticism to give this film, from its fantastic and totally relentless action opening to the suspenseful ending, i was completely entertained.

The cast, as expected from three of South Korea's most most talented actors were superb with in my opinion exceptionally notable roles from Lee Byun Hun and Song Kang-Ho. Lee Byung Hyun pulls off a villain superbly and fills this role with style and terror without fault. Song Kang-Ho in my opinion is the main force of the film, pulling it along with humour and perhaps the most interesting story as the film progresses. Woo-Sung Jung plays his 'good' role well but feels like the character with least depth. The film contains fantastic make-up and costume design, notably in my eyes, Lee Byung Hun's character, who looked fantastic and the on screen presence of this smart darkly dressed character set against the sandy desert was stunning.

The cinematography in this film was superb with plenty of great flying panoramic desert shots, high octane action camera maneuvers, fast cuts and perfect editing as expected from the director of such fantastic action/thriller films.

The soundtrack is fun and reminiscent of old western films with a new, modern twist to keep things up to pace. Although the story has been noted as being weak, the film really does not offer itself as an in depth period drama in the first place. The film is exactly what it calls for... Fun, fast and funny entertainment and what you can expect from some of the finest noted stars and workforce in South Korean cinema.

The Manchurian desert in the 1930's has become the Asian cinematic version of the American West. A number of action films have been set here but this is the first to make an outright reference to a classic western that I've seen. While taking off from Leone's "The Good, The Bad and The Ugly" this film goes in it's own direction although the mix of horses, trains, motorcycles, Chinese and Western costumes and some very odd characters makes this film resemble the Mad Max films more than anything else. An extended chase scene towards the end really seems influenced by the George Miller films.

Influences aside, the ingenuity in crafting the action scenes in this film makes it a joy to watch. Photography is great. The lead actors are good and the story while a little daft is easy to follow for the most part.The music is good but nowhere near the Leone films. The violence is typical for Korean action and might be a little hard to watch at times. Long but pure fun for the most part.

This is probably the best action film I've seen in a while.

Ever since bursting onto the scene with 1998's raucous 'The Quiet Family', Kim Jee-woon has been one of the most exciting filmmakers around. From the hilarity of 2000's 'The Foul King,' to the psychological horror of 'A Tale of Two Sisters,' as well as the pulse-pounding thrills of 'A Bittersweet Life' and 'I Saw the Devil,' Kim has crafted a string of stylish, electrifying thrill-rides one would be hard pressed to forget.

Among his best is 2008's 'The Good, The Bad, The Weird', one of the wildest westerns ever made. Described by Kim as a "kimchi western", the film unfolds in Manchuria, circa 1939, and follows the titular three as they battle over a mysterious map, with the Japanese Army and a gang of bandits on their tail. There can only be one winner, and in a world that wild, every hand's a loser.

A gleefully chaotic send-up and reimagining of the western genre, it's a thoroughly entertaining romp from start to finish. While clearly indebted to Sergio Leone, the film never settles for parody or imitation; instead, Kim channels the spirit of the spaghetti Western through his own kinetic, distinctly Korean lens; creating something truly special in the process.

Set in 1930s Manchuria- a region caught in the crosshairs of Japanese imperial ambition, Chinese resistance and Korean displacement- the film uses its historical backdrop less as a lecture and more as a launchpad for chaos. The map at the centre of the plot is a MacGuffin of mythic proportions, but it's the chase that matters, not the treasure. Kim doesn't dwell on the politics; he isn't here to teach us a history class, he's here to blow the doors off it.

On paper, the plot is simple: three men chasing a treasure map, each with their own motives; none of whom are particularly trustworthy. However, the execution is anything but ordinary. The film moves with the velocity of a runaway train- quite literally at times- and never lets up. It's a chase movie, a shootout movie, a comedy and a western all rolled into one, stitched together with Kim's signature flair.

It works brilliantly on every level, thanks in large part to Kim's sharp, character-driven writing. Each of the leads is distinctly drawn and, crucially, immensely likable. You genuinely enjoy spending time with them- from The Weird, whose bumbling, chaotic energy keeps the story unpredictable and fun, to The Good, whose quiet resolve anchors the madness, and The Bad, whose suave swagger makes him inarguably one of the coolest figures to grace the screen in years.

Moreover, Kim's dialogue is as sharp and witty as his narrative. His sense of humour is palpable in every frame, woven cleverly into the fabric of the film. Whether it's a deadpan retort mid-shootout or a perfectly timed visual gag, the comedy emerges organically from the characters and their world. It never undercuts the stakes, rather it enhances them, keeping the momentum alive with clever shifts and tonal variety.

Visually, the film is a feast for the eyes. Cinematographer Lee Mo-gae, a frequent collaborator of Kim's, captures the sprawling deserts of Manchuria with sweeping grandeur and precision. The camera rarely sits still- it races, dives and glides through the chaos, mirroring the film's relentless energy. Wide shots evoke classic western iconography, while tight close-ups heighten tension and character interplay.

There's a painterly quality to the compositions, even amid the madness. Dust clouds, gun smoke and sun-bleached landscapes are framed with an eye for both beauty and brutality. The film's colour palette- earthy browns, faded reds, bursts of metallic grit- reinforces its genre roots while giving it a distinctly Korean flavour.

Further, every frame feels lived in and layered, thanks to the meticulous production design of Cho Hwa-sung. The dusty towns, ramshackle outposts and sprawling desertscapes evoke the lawless spirit of the Wild West, while remaining East Asian in origin. The attention to detail is staggering. From the ornate costumes- blending Oriental and Western influences- to the cluttered interiors of black-market dens and bandit hideouts, the whole world feels disordered, yet deliberate. A train heist sequence alone is a masterclass in set design: cramped corridors, lavish compartments and explosive exits all stitched together with precision and flair.

What's perhaps most impressive is how the design supports the story. It's playful without being cartoonish, gritty without losing its sense of fun. Moreover, the environments serve as extensions of the characters themselves. The Weird's cluttered hideout, The Bad's sleek wardrobe, The Good's utilitarian gear- all speak volumes without a word of dialogue.

What also sets 'The Good, The Bad, The Weird' apart from others of its ilk, is the action. Sprawling, relentless and choreographed with breathtaking precision, it is a non-stop barrage of brilliance. Throughout its runtime- which flies by like a speeding bullet thanks to Nam Na-young's expert editing- the film delivers set pieces that feel both operatic and visceral.

Kim's stuntpeople and choreographers orchestrate chaos like conductors with machine guns. From a rooftop chase through a market, blending parkour-like agility with slapstick timing, to a lengthy desert pursuit-cum-battle, every scene becomes a kinetic ballet of destruction. Endlessly thrilling and exhilarating, yet remarkably coherent, 'The Good, The Bad, The Weird' is a triumph of spatial awareness and momentum.

The film's sonic landscape is similarly bold. Dalpalan and Jang Young-gyu's eclectic score fuses twangy Western riffs with Korean folk textures, creating a sound both familiar and refreshingly offbeat. Galloping alongside the action, it punctuates shootouts with swagger and chase scenes with adrenaline. Meanwhile, the sound design is razor-sharp- gunfire cracks, engines roar, every explosion lands with earthshattering impact.

The three leads deliver pitch-perfect performances, each bringing a distinct energy to proceedings. Kim's frequent collaborator Song Kang-ho is magnetic as The Weird, his comic timing, physicality and unpredictable charm make him the film's beating heart. Resourceful, layered and oddly heroic; he's hard not to root for. Kim's other frequent collaborator Lee Byung-hun, as The Bad, oozes menace and style, delivering a performance that's equal parts icy and irresistible. His every smirk feels like a threat, and every movement, calculated cool.

Jung Woo-sung, as The Good, plays the straight man with stoic grace, grounding the madness around him with quiet intensity. Together, they form a triangle of tension and charisma, each actor fully inhabiting their role while playing off the others with electric chemistry. Their supporting players are similarly great: from Yun Je-mun as a bumbling bandit to Ryu Seung-su as The Weird's accomplice, no-one can be faulted.

In conclusion, few films fire on all cylinders like Kim Jee-woon's 'The Good, The Bad, The Weird'. It's a bullet-riddled, genre-bending spectacle that reimagines the western with wit, swagger and boundless energy. Boasting jaw-dropping fight choreography and razor-sharp editing, the film hits like a shot of adrenaline. With stunning cinematography, meticulous production design and terrific performances from a great cast, it's not just a wild ride- it's a cinematic stampede. Hold on tight.