From South Korea comes this wild take on Sergio Leone s classic spaghetti Western The Good, the Bad and the Ugly. It s 1930s Manchuria and greed is in the air. A manic outlaw, a nasty holy man and a determined bounty hunter are all in hot pursuit of a treasure map. Throw in Chinese gangsters, the Japanese army and other rival factions also in pursuit of the invaluable map, and it all comes down to a you ve-got-to-see-it-to-believe-it showdown in the desert. One of the most expensive films ever made in South Korea, THE GOOD, THE BAD, THE WEIRD was the talk of festivals worldwide and won such prizes as the Asia Pacific Screen Award for its cinematography and the Asian Film Award for Best Supporting Actor (Jung Woo-sung).
Rating: 
(out of 9 reviews)
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August 29, 2010
#1
Review by Woopak
Rating:
Small wonder that after director Kim Jee-Woon’s magnificent “A Tale of Two Sisters” and the terrific “A Bittersweet Life” that his next film would be so eagerly anticipated. “The Good, The Bad, The Weird” has won numerous awards in Asia, achieved box-office acclaim in South Korea and has been selected for the Cannes film festival. I’ve said before that an Asian western isn’t exactly an original concept; there was a video game called “Western Samurai”, the Hong Kong produced “Peace Hotel” and most recently, Takashi Mike’s “Sukiyaki Western Django” from Japan. Well, it seems like South Korea won’t be left behind and with Kim Jee-Woon at the helm, expectations are rather high and the man doesn’t disappoint.
A two-bit bumbling crook named Tae-Goo “The Weird” (Song Kang-Ho, Sympathy for Mr. Vengeance) robs a train only to unintentionally make off with a Quing Dynasty treasure map. Everyone wants this map; the Japanese army, the Korean independence group as well as a lot of shady characters. On Tae-goo’s tail is a relentless killer named Park Chang-Yi “The Bad” (Lee Byung-Hyun, A Bittersweet Life) who is also after the map and has a seemingly personal reason as to why he wants Tae-Goo’s head on a plate. In hot pursuit for both of them is a bounty hunter named Park Do-Won (Jung Woo-Sung, The Restless) who can do nicely with the bounty for Chang-Yi’s capture or the treasure itself. Now, these three men are on a collision course–who would win out in the end?
Kim Jee-Woon’s “The Good the Bad the Weird” is an extremely well-made film and is a highly entertaining genre-busting affair. This chaotic period similar to the wild west in America, a Machuria-set “kimchi” western (as opposed to “sukiyaki”) is a melting pot of all things awesome about westerns and looks like a homage to Sergio Leone’s “spaghetti westerns”. There’s a train heist, lots of shoot-outs in a small town and cool characters. You’ll see bits and pieces of “The Good the Bad and the Ugly” (so obvious with the film’s title), “A Fistful of Dollars” and even Miike’s “Sukiyaki Western Django”. The film has a very large budget and it shows, the film is exquisitely shot and the superb style and camerawork reminded me of Ryuhei Kitamura (Azumi). Director Kim definitely knows his stuff in style and with the film’s intriguing concept, Asian and Korean cinema fans have reason to see this film, and it is definitely something that a “solid” Asian film fan just can’t miss.
The film’s set designs and architecture maintain some of that “dynasty-era” Korean period but it does have a strong touch of the old west. It has some rather creative touches; there is some swordplay, knives used with brutality, there’s a big guy with a huge hammer, a “sleeping Buddha” under construction, rifles with telescopes, motorcycles and jeeps, saloons and more–all these contribute to the film’s “mixing of genres” style. Director Kim also seems to be having a lot of fun with the film, as he never forgets his touches of humor to help the film’s pace and his stunning camerawork which proves to be the film`s showstopper. Explosions and gunfire are aplenty; highlights include a very cool town gunfight and a very long chase sequence with the ensembled cast supported by dozens of extras. I’ve read that Kim actually had cameramen hanging on wires to shoot the desert scenes–Kim Jee-Woon’s talent shines through.
The action scenes are very exciting and exquisitely executed. It looks like director Kim took some pointers from Ryuhei Kitamura because they are just so full of “coolness” that can make action scribe John Woo a little jealous. Kim also avoids the use of CGI in the action and depends mostly on elaborate stunts and old-fashioned camera trickey; there is minimal use of CGI enhanced effects but only in the film’s set designs. Ok, so some scenes required a large suspension of disbelief, I rather found Jung Woo-Sung’s Do-Won’s skills with a gun a little too over-the-top especially when he engages a large number of the Japanese army. He never even gets grazed by a bullet so either Do-Won is unbelievably good or these guys just supremely suck. But hey, this is a minor complaint, after all I don’t think this film was meant to be taken seriously and more of a homage film. Hey, please take note that Kim doesn’t hold back with the blood–and the way he executes it kept the film from having too much of that “comic bookish” feel. There is also a legend of a certain “Finger chopper” that gives some surprises and I felt that the screenplay played its cards well.
Song Kang-Ho’s Tae-Goo arguably steals the show and proves to be the film’s most interesting character–the actor also proves as to why he is one of South Korea’s most sought after performers. The man can act in almost any film I’ve seen that further cements his reputation in versatility. Lee Byung Hyun does have the most intense presence onscreen, his character along with Song Kang-Ho’s Tae-goo are the kind of characters that can elevate the film into “cult status”. Jung Woo-Sung’s “the Good” character feels a little too cool and lacks precision, but the actor does do the best with what he has. Still, the three popular actors mesh very well and has dynamic chemistry. Oh, the women are also great-looking and serves to titillate the male audience.
“The Good, The Bad, The Weird” is a very polished film that lived up to my expectations. The film’s plot isn’t too deep, but the film’s “wow” factor is just so incredibly impressive that I can look pass the very simple plot which makes it essentially a chase film. It is a solid film, that exudes popcorn entertainment but its characters do carry much of the film’s weight. It may be little too pre-occupied in becoming captivated with itself but its small flaws aren’t really worth to nitpick. The film is an action-packed affair that action junkies will never become bored–as for the rest, they can find something else to like in the film–its characters, style and performers will definitely impress. I’m happy to say that Kim Jee-Woon’s film lived up to the hype.
Highly Recommended! [4 ½- Stars]
There are two versions of the film. The International version (the one presented in Cannes) is arguably the better paced, leaner film that maintains a touch of mystery at the end. The Korean 130 minute cut has more development to Tae-Goo’s character and an extended climax that answers a lot of questions. The official U.S. version is expected to have the original 130 minute version.
August 29, 2010
#2
Review by Anticlimacus
Rating:
Asian westerns are a rare breed of film. As of this writing, I’m only aware of three: “Tears of the Black Tiger” (2000, Thailand), “Sukiyaki Western Django” (2007, Japan), and “The Good, the Bad, and the Weird” (2008, South Korea). The Thai entry was pretty good, with excellent use of color and some decent humor. The Japanese entry (directed by the wildly popular Takashi Miike) was a piece of trash that had horrible scriptwriting, lame action scenes on the whole, and a penchant for provoking maximum irritation on the part of the viewer.
Enter South Korean director Ji-woon Kim, the mastermind behind the single greatest film ever made – “A Tale of Two Sisters” (2003) – and the man who gave us other quality films such as “A Bittersweet Life” (2005), “Memories” (2002), and the very funny “Quiet Family” (1998) and “Foul King” (2000). While “A Bittersweet Life” demonstrated Kim’s talent for directing action, “The Good, the Bad, and the Weird” (“GBW”) is an entirely different beast due to the elaborate setups of epic shootouts involving dozens upon dozens of actors. This is not an easy step to take, but Kim pulled it off in masterful fashion.
Unlike Miike’s crapfest – which only had one decent clash near the end – GBW is packed with the best set of wild west style shootouts of any film I’ve ever seen. There are a number of reasons for this, but the big one is the genius of Kim’s camera-work and directing skill. I kid you not, the lengthy tracking shots are no less than sheer brilliance. The camera will begin with one particular character/scenario only to then move in unique ways with zoom ins, zoom outs, aerial maneuvers, and high speed helicopter/crane shots to gradually reveal the action of a different character/scenario – thus linking the events together without the need for editing. If nothing else, Kim should be applauded for his camera-work, because with GBW he has convincingly ascended to a level that’s equal to guys like Dario Argento and Andrei Tarkovsky. Yeah, it’s that damn SPECTACULAR.
Byung-hun Lee (from “A Bittersweet Life”) and Woo-sung Jung (from “Musa: The Warrior”) do well with their characters, but it’s Kang-ho Song who steals the show. I know that some will complain that Kang-ho uses his trademark dim-witted awkwardness a bit too much, but he does it so well that I don’t mind seeing it so long as it’s used in different ways. Fortunately, he has some classic scenes in GBW – a few of which are laugh-out-loud hilarious.
Those expecting the dramatic weight that made “The Good, the Bad, and the Ugly” (1966) so awesome will be sorely disappointed. This is an all out action film at its core, and only uses a few ideas from Sergio Leone’s classic as a springboard for non-stop popcorn entertainment. The films are so different that they are not even remotely comparable. That does not mean, however, that GBW dips to the pathetic levels of some Hollywood epics. At no point during this film did I gather the impression that Kim was pandering to create a hollow, empty product because the outcome has so much energy and spirit. (It was only after reading online comments that drew the comparison.) Even more convincing is that GBW is 99% CGI free, which is anti-Hollywood to the extreme. If you want to see an Asian film industry that sacrifices quality in an attempt to ape Hollywood, look no further than recent Chinese historical epics like “The Warlords” (2007) and “Red Cliff” (2008). Now THOSE are some essentially worthless fluff pieces – one of which was directed by a now-worthless director (John Woo) who has used the same two clichés for the past 20 years. GBW, on the other hand, is a resounding success – further solidifying Ji-woon Kim’s status as one of the best directors alive today.
Hollywood cinema is really becoming superfluous in the grand scheme of things. You can basically find every kind of film in non-American countries, and the fact that they’re surpassing their American counterparts in terms of sheer entertainment value is a nasty indictment on the cinema of the west. Times are changing – and American movie-making will crumble from within as the mega studios keep churning out garbage for a quick buck. I say, good riddance.
August 29, 2010
#3
Review by K. Swanson
Rating:
Sergio Leone on a bender in 1930s Manchuria.
Almost non-stop action, most of it tongue in cheek but nicely choreographed, lots of color and pizazz, and above all an endearing sense of absurdity make this a pleasure to watch. Director Ji-Woon knows the genre well and delights in subverting it without mercy; the guy in the diving helmet was one of my favorites. Any movie that takes itself this unseriously yet also delivers thrills and humor is a success by any measure; that it’s Korean and does Hollywood one better makes it all the more fun.
Some of the violence is a little overdone, but it’s all rather comic-bookish anyhow. The real highlight for me were the many incredibly long, tight tracking shots, full of wild angles and unexpected twists and turns of the camera. Shots like that take great care and preparation and for so many of them to work so well is no mean feat (the extras docs show just how wild some of these set-ups were). To have it all be this wacky and light-hearted yet also so breakneck is a real achievement. Plus the acting is both gleefully hammy and surprisingly well done: I never once thought, “What a crappy take.” Somehow it all just fits, once again in the spirit of the best spaghetti westerns.
It does go on a little longer than it might have, with too much time spent pontificatin’ to no real end, but that and the occasional gratuitously graphic violence were my only qualms. I loved that there was no English-language dubbing (which is so often so bad), just the original Korean and good subtitles full of flavor and colloquial feel. This is how it should be done. All in all, it’s an over the top shoot-em-up and delivers on that promise in spades, diamonds and treasure maps.
The blu-ray is very nicely done, not a flawless transfer but very good, and there are a bunch of solid extras, including various interviews and making-ofs; it’s a nice package and will no doubt contribute to this film’s inevitable cult status. There’ve been a few other Asian westerns but this one is in a league of its own, and the quality of the image along with the color and the humor make it a real treat to watch. And it’s almost all shot outdoors in natural light, often in gloriously huge mountainous wilderness, so it feels very real even with all its goofiness, and the final motorcycle/horse/jeep battle is a true classic.
[A note to any surfers out there: when you see the sea in the distance at 1:18:02, check out those insane, endless tubes peeling off in a perfect set. Surf Manchuria!]
If you like westerns, Asian cinema, great cinematography, nutty genre humor, or/and just a good old-fashioned fun movie, Good Bad Weird is for you.
August 29, 2010
#4
Review by Jared M
Rating:
“The Good, the Bad, the Weird” is an entry into the genera of Asian Westerns, and is probably the best of the limited array already available. Essentially, “The Good, the Bad, the Weird” (the film is named after the three main characters) is a chase movie from start to finish, and as such has a very limited storyline. Set in the Manchuria in the 1930′s, during the Japanese occupation, The Weird (Song Kang-ho of JSA, Memories of Murder, The Host) robs a train (in a very nifty opening sequence) and comes across a treasure map in the hands of the Japanese. The Bad (Lee Byung-hun of JSA, A Bittersweet Life) is an assassin tasked with stealing the map, and after initially being foiled by The Weird, begins to pursue The Weird. The Good (Jung Woo-sung of Musa) is a bounty hunter who is also after the map, and then, like The Bad, pursues The Weird. The Good captures the Weird, The Bad then tracks the pair of them, the “Ghost gang” is also after the map, and then the Japanese get involved with trying to retrieve the map. It all culminates in a lengthy action packed finale in the Manchurian desert.
A Korean production, “The Good, the Bad, the Weird” is a truly impressive effort, reputed to be Korea’s most expensive film production to date and it shows. There are some great set pieces – there is a bustling “Ghost Town”, reminiscent of a wild west frontier town, and of course the backdrop for much of the film is the desert. The overall sets and costumes are great, and have very real lived in quality to them. The camera work is fantastic – there are some jaw dropping angles and long, sweeping shots galore. The plentiful action sequences are well choreographed and shot. I really enjoyed the characterisation of The Bad – a suave and debonair Lee has a field day with this role, and steals every scene he is in. Song reproduces his bumbling and slightly dense everyday man role from “The Host”, and thus is playing somewhat to type. Nonetheless, both of these characters add humour to the film. Jung makes a good fist of his role and probably has more intensive stunt sequences than the other two (apparently he broke his arm during filming) but is still overshadowed by the other leads.
There are some minor niggles – the film is probably 15 minutes too long, and some action sequences could have been trimmed down without sacrificing the story (there isn’t much to it after all!). There are also a few of those long meaningful shots of character’s faces as they contemplate their fate/options/events… which I have noticed that many Korean directors indulge themselves in. The lack of a substantive plot didn’t bother me – after all it is clearly an action film, and not intended to be fine art.
All in all, “The Good, the Bad, the Weird” does do credit to Korean film. Because of its western angle, “The Good, the Bad, the Weird” should have broader appeal than just Asian film aficionados. It is just rollicking good (brainless) fun.
Note: There is an International Version (which is the subject of this review) and a Korean version of The Good, the Bad, the Weird. There are extra scenes in the Korea version, the most significant of which relate to the Korean resistance backstory – the absence of these scenes from the International Version doesn’t detract from the overall story. There is also an extended ending sequence. Apparently, there is a three disc DVD release available in Korea which has both versions of the film.
August 29, 2010
#5
Review by 4-Legged Defender
Rating:
The movie is not much more than I stated in the title of my review, yet it is a non-stop, action-packed roller-coaster ride through Manchuria during the 1930`s with 3 principal characters- the Good, The Bad, and the Weird, tho the character lines get fuzzy more often than once. It`s little more than a chase film over a map for buried treasure ala Indiana Jones, yet the director, Kim Ji-Hoon (‘A Tale of Two Sisters’, probably the most beautiful horror film I`ve ever seen, ‘A Bittersweet Life’, a terrific revenge flick as only Asians can produce) and lead actor Kang-ho Song (‘Thirst’, ‘Memories Of Murder’, ‘Sympathy For Mr. Vengeance’, ‘R-Point’, ‘Spider Forest’, ‘The Host’, ‘JSA’, etc.) do such remarkable jobs , along with a stellar cast of eccentric starring and peripheral characters, that the movie suceeds on many levels at once. It`s a Western-Action-Comedy-Revenge Hybrid that has little down-time, even though it clocks in at 2 1/4 hours. I typically don`t enjoy action movies, tho I`ve developed a weakness for Sergio Leone Spaghetti Westerns and several Asian exceptions, and I thoroughly enjoyed this one, the action sequences would make John Woo or Takashi Miike envious. It`s Epic proportions outstrip ‘Mongol: The Rise of Genghis Khan’, and I`m a big fan of Tadanobu Asano`s films. This one`s got it all, for a (family) movie of its type (and it has its flaws,`natch, don`t get me wrong) – if you even remotely liked Miike`s ‘Sukiyaki Western Django’, try this one on for size, I considered it an infinitely more enjoyable film.