A Korean western starring not one but three of the
country's biggest names, directed by one of the most celebrated Korean
filmmakers of recent years. What's not to like? Ji-woon Kim has delivered
quirky comedy drama (The Quiet Family), stunning horror (A Tale Of Two Sisters)
and blistering gangster action (A Bittersweet Life) with massive success.
Set in the 1930's Manchurian desert where lawlessness
rules, fate intervenes when three Korean men meet each other on a train. Do-Won
(Jung Woo-sung) is a bounty hunter who tracks down dangerous criminals. That
would be the good then. Chang- yi (Lee
Byung-hun) is the leader of a group of tough-as- nails bandits. That takes care
of the bad. And Tae-goo (Song Kang-ho) is a train robber with nine lives.
Anyone not keeping up at this point?
The three strangers engage in a chase across Manchuria to take possession of a
map Tae-goo discovered while robbing the train. Also on the hunt for the mysterious
map are the Japanese army and Asian bandits. In this unpredictable, escalating
battle for the map, who will stand as the winner in the end? Well, just so long
as you’re not expecting a film that changes the world, I guess that would be
the viewer.
First things first, there’s pretty much no plot to speak
of in Ji-woon Kim’s latest assault on the senses. Which amounts to little more
than three guys looking for a map in a Wacky Races set-up that rarely stalls,
reeling us in with electrifying chases, stylised gunplay and quirky comedy. The
three lead performances are excellent, especially Song Kang-ho (The Host), who truly
embraces the 'weird' of the title. He’s incredibly entertaining and takes
centre stage for much of the movie.
Lee Byung-hun is good value for money too, cutting quite
the menacing figure in his black eyeliner and designer wear. Jung Woo-sung
doesn’t have quite as much to do, but seeing as he epitomises the 'good' of the
title, it’s understandable why he left less of a lasting impression. His
performance is strong however, and the three stars fill the hole left behind by
an absence of character development and plot.
What the film does have in its favour is an abundance of
cool action sequences, and a fair bit of money has been spent bringing The
Good, The Bad, The Weird to life. This fast-paced romp sure looks stunning and
the CGI was worth every penny. It’s over the top for sure, but I wouldn’t have
wanted it any other way. Besides, the theatrical violence and elaborate
gunfights certainly fit with the breezy tone of the movie.
The Good, The Bad, The Weird is a little too long perhaps,
and looking back, the absence of female support might put the occasional lady
fan/pervert off. There just isn’t room for women in this picture, and as a result,
they barely get a look in. What we have here is a series of blistering chases
strung together by three charming leads and faultless direction. That’s just
about it. The Good, The Bad, The Weird is a ride worth taking then, and
furthermore, the denouement is a doozy. AW
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