The Good, the Bad, the Weird 4K 2008 Ultra HD 2160p

Story Movie

1930-е. The world is in chaos, the Korean peninsula has been invaded by Japanese imperialists. Many Koreans fleeing the invaders flock to Manchuria, a vast land of horses and steppes bordering their homeland and China, where some inevitably become bandits. Yoon Tae-gu, a thief, robs the train and finds himself in possession of a map of Qing Dynasty treasure hidden somewhere in Manchuria. Park Chang-yi, a cold-blooded assassin with a gang of thugs, is also trying to get his hands on the map, and it would be hard for Tae-gu to get away alive if bounty hunter Park To-won didn't suddenly change the balance of power.

Review 4K Movie

At first glance at the promotional poster for the film “The Good, the Bad, and the Weird,” vague doubts begin to torment you: “Shpak has a jacket, the ambassador has a medallion.” How can this be? South Korea and a western, and without a hint of embarrassment, with a title almost identical to Sergio Leone's spaghetti western The Good, the Bad and the Ugly? Of course, Jee-woo Kim's brainchild is not the first Asian western, or rather “eastern,” many remember Japanese director Takashi Miike's “Sukiyaki Western Django,” to which Quentin “Kill Giter” Tarantino lent a hand, and there's no need to mention anime — every other one is made in the Western style. On the other hand, why not? It's a timeless genre with millions of fans, and all these Tombstones and Trains to Yuma have become tiresome. In my opinion, the western has hit a rough wall in the saloon of yet another ghost town and is treading water. To the rescue came a cavalry of round-faced Asians on their short, shaggy horses, who can not only deftly handle a Colt and a Winchester, but also load them with their feet. Indeed, who else but the Mongols, Koreans, and Chinese could film horse chases and smoky shootouts, entire nations that grew up in the saddle. So Ji-woo Kim, without hesitation, transports the action of the film to the turbulent 1930s. At that time, Korea was occupied by Japan, and many desperate people sought a new life in the steppes of Manchuria — the perfect setting.

The action revolves around a mysterious treasure map, which is desperately needed by the Japanese, exhausted by the occupation, the Korean People's Revolutionary Army, which is spreading its wings, and, of course, the restless daredevils, who, according to the director, roamed the wastelands in great numbers at that time. And how handsome these bandits are — with their obligatory anime-style side-swept bangs and endless piercings, dreadlocks, leather jackets, combat hammers, flight jackets, leggings, Ural motorcycles, as well as double-edged axes, machine guns, and other instruments of violence. instruments of violence. It's like some kind of carnival, to which extras from Mad Max, Waterworld, The 13th Warrior, and Saving Private Ryan. Everyone was given weapons from the same films, but deliberately mixed up, and sent to the set, strictly instructed not to forget their wushu lessons. But after watching for 20 minutes, you start to get used to the fact that a train rushing across the steppe can be attacked by a gang on horseback accompanied by motorcycles with sidecars, and a battle will begin, where some will spray lead from revolvers and Walther pistols, while others will run around with axes and machine guns. Taken together, this whole mishmash looks lively, joyful, somehow childishly naive, and therefore not offensive.

In addition, the film has a fairly high budget, abounds in mass battle scenes, is shot expensively and well, which is undoubtedly pleasing. This probably explains the high box office returns in both Korea and Europe. Of course, for many, “The Good, the Bad, the Weird” will seem like a parody western, a frank Asian satire on the classic genre, but we must not forget that Asia is a completely different world with a different way of thinking. If you think about it, does it really matter what the characters are wearing or whether they are holding a bow or a blaster? the main thing is emotion, spirit, meaning, and this is where Asian cinema beats the European and American mainstream hands down.