CONSENSUS Arguably
the greatest of the spaghetti westerns, this epic features a compelling
story, memorable performances, breathtaking landscapes, and a haunting
score.
My Friends' Reviews of The Good, the Bad and the Ugly
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Lucky Number Slevin
A case of mistaken identity means big trouble for Slevin, who gets
dragged into New York's underworld just because he's in the wrong place
at the wrong time. View the trailer here.
"Town
streets stretch wider than eight-lane freeways, gargoyle-faced henchmen
lurk behind every tumbleweed, and Ennio Morricone's majestic electric
coyote score rules over all." -- Andrew Wright, PORTLAND MERCURY
"There are many features that contribute to The Good, the Bad, and the Ugly’s belated renown, and none as idiosyncratic as Ennio Morricone’s score." -- Rumsey Taylor, NOT COMING TO A THEATER NEAR YOU
"Ce
qui est étrange c’est que malgré le fait que les Américains soient les
plus grands amateurs de Western, les Italiens semblaient mieux les
connaître." -- Frédéric Rochefort-Allie, PANORAMA
"The point is not what happens in the movie but how it happens, a curious blend of partly humorous, partly dramatic, partly elegiac legend." -- John J. Puccio, DVDTOWN.COM
"...while
the film is seriously overlong, there are enough elements here to hold
the interest of even the most impatient viewer." -- David Nusair, REEL FILM REVIEWS
"There are two kinds of people, my friend. Those who love Sergio Leone's The Good, the Bad, and the Ugly, and those who resist the machismo and gallows humor of what is arguably the definitive spaghetti western." -- Sean Axmaker, SEATTLE POST-INTELLIGENCER
"The movie that solidified Eastwood's iconography. Leone's dazzling Techniscope cinematics far surpass the familiar plot." -- Chuck Rudolph, MATINEE MAGAZINE
"May
lose some of its jolt on the small screen, but this flick features some
of Clint Eastwood's and Sergio Leone's finest moments." -- Dan Lybarger, NITRATE ONLINE
"You don't really need me to review THE GOOD, THE BAD, AND THE UGLY for you, do you?" -- Luke Y. Thompson, LYTRULES.COM
"It
demonstrates that a film can be exciting and funny and epic in scope
while still retaining the peculiar vision of an artiste compelled to
capture his obsessions with a Techniscope lens." -- Peter Sobczynski, CRITIC DOCTOR
"The film runs about two hours and forty-five minutes, but is absolutely absorbing, and goes by quickly and smoothly." -- Ted Prigge, REC.ARTS.MOVIES.REVIEWS
"Though
the restoration isn't substantial, any excuse will do to revisit the
moment when a young Clint Eastwood became a star and in the process
helped reinvent the Western." -- Marc Mohan, OREGONIAN
"Sergio
Leone's baroque western might be his greatest...Watch how Clint
Eastwood amazingly acts with just his teeth and those squinty eyes." -- Thomas Delapa, BOULDER WEEKLY
"Long, funny, and featuring one of Ennio Morricone’s greatest scores, The Good, the Bad, and the Ugly is a sheer pleasure to watch." -- Marjorie Baumgarten, AUSTIN CHRONICLE
"[Leone]
weighs every movement carefully; every footstep, every squeeze of the
trigger, screams epic. Everything is important and nothing is
insignificant." -- Jeffrey M. Anderson, COMBUSTIBLE CELLULOID
"An extravagantly plotted epic propelled by waves of free-flowing emotion and a palpable love for the American past" -- Tom Block, CULTUREVULTURE.NET
Cream of the Crop
FRESH 100%
Avg. Rating: 8.8/10
"An
improbable masterpiece -- a bizarre mixture of grandly operatic
visuals, grim brutality and sordid violence that keeps wrenching you
from one extreme to the other." -- Michael Wilmington, CHICAGO TRIBUNE
"It's great to see a great director's film as he intended it, with rich color and restored sound." -- Stephen Whitty, NEWARK STAR-LEDGER
"Of all the great films of the 1960s, The Good, the Bad and the Ugly is one of a fistful that can be truly appreciated only on the big screen." -- John Monaghan, DETROIT FREE PRESS
"This is a great movie, whatever strange estuary of the western river it occupies." -- Stephen Hunter, WASHINGTON POST
"Art
it is, summoned out of the imagination of Leone and painted on the wide
screen so vividly that we forget what marginal productions these films
were." -- Roger Ebert, CHICAGO SUN-TIMES
"Leone's
blockbuster is balanced on the razor's edge between popular
entertainment and art film. It took classic American themes and turned
them inside out." -- Colin Covert, MINNEAPOLIS STAR TRIBUNE
"The
uncut new print reclaims the widescreen majesty of Tonino Delli Colli's
cinematography, allowing you to see every iconic wart and furrow on
every bad guy's face." -- Ty Burr, BOSTON GLOBE
"All
told, and in giant widescreen, it's only blood-red adolescent fun, but
it blooms like Douglas Sirk with a Gatling gun compared to the teenage
demographic's current fare." -- Michael Atkinson, VILLAGE VOICE
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