What we commonly call genre films — westerns, romantic comedies, horror and action films — may have been born in Hollywood, but the great proof of their durability is that no one can claim ownership of them: They belong to everyone, to interpret and revitalize as they wish. That explains how a Korean filmmaker would be inspired to make his own version of an Italian western, which itself was inspired by Hollywood movies that mined America’s “Westward, ho!” mythology, a case of the American experience being reflected back at us through double mirrors. But Kim Jee-Woon’s The Good, the Bad, The Weird is no The Good, the Bad, and the Ugly, and it doesn’t so much build upon its namesake as climb over its back on its way to somewhere else. There’s no modesty in Kim’s movie, not even the false kind. It’s faux-Leone baloney.
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REVIEW: The Good, the Bad, the Weird Lousy for Viewers, Worse For Horses
