7.6 | / 10 |
Users | 4.4 | |
Reviewer | 3.5 | |
Overall | 4.0 |
Set in 1930s Japanese occupied Manchuria, tells the story of three Joseon mounted bandits who get their hands on a treasure map, only to be pursued by the army of national independence, who believe that the outlaws have a map for a new railway to be built by the Japanese army.
Starring: Song Kang-ho, Lee Byung-hun, Jung Woo-sung, Ryu Seung-su, Zhang QiForeign | 100% |
Western | 11% |
Comedy | Insignificant |
Adventure | Insignificant |
Action | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080i
Aspect ratio: 2.35:1
Original aspect ratio: 2.39:1
Korean: DTS-HD Master Audio 5.1
Korean: Dolby Digital 2.0
English, English SDH, Spanish
50GB Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 4.0 | |
Video | 3.5 | |
Audio | 4.5 | |
Extras | 2.0 | |
Overall | 3.5 |
The western is just as mutable as any other genre, its conventions constantly adapted to suit the times. John Ford perfected the black hat versus white hat tale with films like Stagecoach and The Searchers. Akira Kurasawa then saw in the western an analog for Japan’s native samurai culture, tweaking genre tropes for Yojimbo, Seven Samurai and others. The spaghetti western was born when Sergio Leone remade Yojimbo as A Fistful of Dollars, infusing the iconography of Ford’s Old West and the moral relativism of Kurasawa’s ambivalent, side-swapping hero with a distinctly European filmmaking aesthetic. Later, Sam Peckinpah and Alejandro Jodorowsky repurposed the genre, giving us hyper-violence and the “acid western” with The Wild Bunch and El Topo, respectively. Recently, Asian directors have had another crack, producing revisionist, pop-culture mash-ups like Sukiyaki Western Django and the far superior The Good, The Bad, The Weird. Critics have called the latter film, by Korean director Kim Ji-woon, a “Kimchi western,” but it’s more of a bibimbap, a cinematic hodgepodge with ingredients from numerous sources.
You lookin' at ME?
Yes, what you've heard is true. MPI have brought The Good, The Bad, The Weird to Blu-ray in the U.S. with a non-progressive 1080i transfer, using the AVC codec. I think we all can agree that unless the material was shot natively in 1080i video, there's no reason why a feature film should have an interlaced transfer on Blu-ray, unless, due to impossible rights issues, a 1080p master can't be procured. Thankfully, though, this is one of the better 1080i releases I've seen in terms of picture quality. You will notice some slight motion artifacts, especially if you have a larger screen, and you can even detect a distinct combing effect when the subtitles appear and disappear. There are also a few instances when shimmer and aliasing is visible when the image displays close parallel lines. Thankfully, though, none of these problems are absolute deal-breakers. Sure, it makes no sense at all that every other territory gets a 1080p version of the film while the U.S. is stuck with an 1080i transfer, but the quirks associated with interlacing are rarely distracting. Clarity is strong throughout, and while it looks like some mild edge enhancement has been used to boost sharpness, it never gets to the point where haloes start to form around hard lines. The tight facial close-ups—borrowed from Sergio Leone—are very crisp, and you'll be able to make out every pore and bit of stubble on the actors' faces. Color is mildly stylized, with a high-contrast look that works well for the neo-Western vibe, but black levels are somewhat inconsistent, deep outdoors, but occasionally hazy during nighttime scenes. A thin layer of grain is present—no DNR here—and aside from the aliasing and motion artifacts, there are no other compression-related issues. It's a shame we couldn't have gotten a proper transfer, but The Good, The Bad, The Weird probably looks better than you might expect when you hear "1080i."
This release makes up for the 1080i transfer with a hefty, effect-laden Korean DTS-HD Master Audio 5.1 surround track that kicks some serious Asian cowboy ass. The movie is all action, all the time, and the audio has no trouble keeping up. Out of control trains, roaring Jeeps, and bursting artillery shells keep the LFE channel activated, pumping out gut-quaking tremors of low-end goodness. The rear channels are constantly filled with ambience and effects, from village chatter and rain falling all around to massive shootouts where extremely potent gunshots ping, crack, and kra-pow in all directions. Let's just say that the gun battle in the Ghost Market is sonically intense. Cross- channel movement are handled with deftness as well, so much so that there were a few instances when I could've sworn something horrible was going on out in the road behind my house. All of this aural insanity could easily overwhelm the dialogue, but that's not the case—voices are effortlessly balanced in the mix, and you'll never once have to touch your remote to boost or tamp down the volume. The score borrows heavily from Morricone, but it's thoroughly modern as well, with electronic accents and even a few hip-hop-ish beats thrown in for good measure. No complaints at all on the audio front.
Trailer (1080p, 2:21)
So, a 1080p trailer, but no 1080p film?
Behind the Scenes (SD, 15:02)
Straight up behind the scenes footage—no interviews, no commentary—just a look at the fantastic
sets and the innovative ways that certain shots were achieved.
Cannes Highlight Reel (SD, 3:02)
Some footage from the cast and director's appearance at Cannes.
Making of #1 (SD, 3:22) and Making of #2 (SD, 1:02)
Two extremely brief featurettes with additional on-set footage and interviews with the
director.
Interviews (SD)
Includes brief interviews with director Kim Jee-woon (3:14) and actors Song Kang-ho (2:41), Lee
Byung-hun (2:57), and Jung Woo-sung (2:45).
Sergio Leone meets Steven Spielberg in Kim Jee-woon's The Good, The Bad, The Weird, a rollicking "western" adventure set in the Japanese-occupied Manchuria of the 1930s. Some harsher critics might says the film is all empty action—the story is as simple as they come and there's not much that could be called character development—and while I wouldn't necessarily disagree, GBW is far more fulfilling than your average summer blockbuster. (And far less reliant on CGI. The practical stuntwork and effects here are fantastic.) Think of it as a three-way cross between The Man With No Name trilogy, Raiders of the Lost Ark, and Korea's new wave of stylistically driven cinema. Recommended!
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