There are two kinds of people, my friend. Those who love Sergio Leone's The Good, the Bad and the Ugly (1966) and those who resist the machismo and gallows humor of what is arguably the definitive spaghetti western.
The third in the Clint Eastwood series of Italo westerns, The Good, the Bad and the Ugly is exactly that -- a curious amalgam of the visually striking, the dramatically feeble and the offensively sadistic.
Sergio Leone's grandiose 1966 western epic is nothing less than a masterclass in movie storytelling, a dynamic testament to the sheer, invigorating uniqueness of cinema.
Leone's liberal use of widescreen shots in conjunction with extreme close-ups gives the movie an epic quality that is matched in scope by a skeletal narrative structure that breathes with a poker-faced mood, tone, and personality.
All three arrive at the cache at the same time. Who gets it? Director Leone doesn't seem to care very much, and after 161 minutes of mayhem, audiences aren't likely to either.