Scanialara You won't be disappointed!

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

ma-cortes ¨The ugly ones¨ is a terrific example of the spaghetti western genre from Spain. Offbeat Paella-Spaghetti Western co-produced between Spain and Italy . The band ( Tito Garcia, Hugo Blanco) of a nasty Mexican frees Jose Gomez ( the Cuban Tomas Milian ); he and his bandits trespass the frontier and occupy a village .Escaped Jose Gomez goes back to his home town chased by a bounty killer . The towns people protect Gomez, unaware, at first, that he is changed and become an evil gunfighter . Our hero named Luke Chilson (Richard Wyler) is a bounty hunter riding on a robust horse and hunting outlaws . Gomez returns his ranch and seeks vengeance against Luke , while his hoodlums kill , mistreat countrymen . Meantime his former girlfriend (the Eurobabe Zalowska)double-crosses his friend .It's an exciting western with breathtaking gun-play between the protagonist Richard Wyler against the heartless Tomas Milian and his hoodlums . Milian is fine, he ravages the screen, shoots, hit and run and kills . In the film premiere attained quite success and nowadays is well valued and I think it turns out to be a good Spaghetti Western. This movie is a lot of fun to watch. It's a fascinating story with a touch of peculiarity, some great characters, and an amazing music score.The picture also titled ¨The bounty killer¨is a tale of justice and revenge, as a man returns home to his village after his breakout and mistreats the townspeople . The basic plot is typical spaghetti western fare, but what makes this movie stand out is its style. Richard Wyler's performance in the movie is a bit wooden for the role of such an interesting character, but the fantastic performance by the always great Tomas Milian as the slimy, menacing outlaw and gang leader Gomez, make up for it. Appears as secondaries the habitual in Spanish/Italian Western such as Jose Canalejas , Luis Barboo, Ricardo Palacios , Mario Brega and Frank Braña , usual in Leone films. Special mention to Tito Garcia in his ordinary role as fatty Mexican bandit and in a cruelly baddie role , he is terrific, and bears a hysterical and mocking aspect , subsequently he would play similar characters .The film packs violence , shootouts , high body-count and it's fast moving and quite entertaining . There is plenty of action in the movie , guaranteeing some shoot'em up or stunts every few minutes. There is a very odd implementation of zoom shots in the camera work during some particular scenes as the film approaches its climax. Rather than the usual sustained, intensity-building close-ups that Sergio Leone was so fond of, the filmmaker here uses a rapidly zooming in and out camera for a more unsettling effect. The movie gets the usual Western issues, such as avengers antiheroes , violent facing off , quick zooms, exaggerated baddies, soundtrack with Morricone influence , among them . Good production design creating an excellent scenario with luminous outdoors, dirty and rocky landscapes under a glimmer sun and a fine set on the manor . The musician Stelvio Cipriani composes a nice soundtrack and well conducted , this turns out to be one of the most memorable parts of the movie; as it's full of strange sounds and haunting musical background . The opening theme is one of my favorites, and is one of those unforgettable tunes that will play in your mind over and over long after the movie is realized. The soundtrack contributes tremendously to the atmosphere of the film, including an emotive leitmotif, the music score is perhaps the best part of this film . Striking cinematography by Enzo Barboni , ¨Trinity and Bambino¨ films director though is necessary a correct remastering . Outdoor sequences with barren exteriors filmed in Spanish places located on desert of Tabernas , Almeria . This motion picture produced by Jose G Maesso (Gringo , Django, Tarantos) is professionally directed by Eugenio Martin and won prizes conceded by Spanish Spectacle Syndicate. Martin is a horror movies expert ( Hypnosis, A candle for the devil , The fourth Mrs Anderson ) and Spaghetti Western ( Requiem, for a gringo , Pancho Villa , The ugly ones , Bad man's river ). Rating : Acceptable and passable Spaghetti Western , well worth watching .

Steve Nyland (Squonkamatic) Eugenio Martin's THE BOUNTY KILLER is another of those really impressive & highly professionally made overlooked Italian spaghetti western classics. Regardless of genre this is a highly entertaining film, imaginatively staged & filmed with stylistic flourish by "Trinity" creator Enzo Barboni. Based on the western pulp novel of the same name by Marvin H. Albert and boasting a robust Stelvio Cipriani musical score, the film has an authority to it's execution that belies the low budget origins of the production.All of this realized by a first rate cast: Thomas Milian steals the show as a suave killer who devolves into a chattering psychopath after he & his gang of grubby unwashed cut-throats take over his former home village (which due to budget restraints is populated by all of six people, but never mind). The performance is measured against Richard Wyler's grim, laconic bounty hunter, determined to bring in Milian for bounty dead or alive. Frequent Margheriti actress Halina Zalewska with her glittering blue eyes plays the woman who is both the key to Milian's wanton freedom and his eventual demise. Mario "Mr. Fun" Brega plays the beefy lummox town blacksmith who makes a mistake by helping to free Milian and very quickly comes to regret it, with colorful supporting bit parts for familiar faces like Frank Braña, Luis Barboo, José Canalejas, Enzo Fiermonte, and paunchy Ricardo Canales who is never seen without a plate of stew.Thomas Milian's performance is the key to the movie's success, specifically contrasted with Wyler's far more subdued good guy. By making Milian's character more likable and romantic in nature the audience is almost sucker punched into rooting for him, until the evil fabric of his character becomes apparent. Some of his schtick gets a bit tiresome towards the end -- he spends a lot of time murmuring what seem to be significant lines just below the audio threshold level -- but it is the first of countless tour-de-force performances by Milian. He's always a fascinating actor with a "love it or hate it" style, and I like to divide his career into a Pre-Funny Hat and Post-Funny Hat eras. This might be his best Pre-Funny Hat acting, though it's hard to beat THE BIG GUNDOWN.Another interesting aspect of the movie is Halina Zelewska's role which never degrades her into a sex object. Yes she is undeniably attractive and costumed in a manner that enhances her overlooked cleavage, but she is an equal with the boys in this one and it's refreshing to see a spaghetti western heroine who isn't just a cheap lay for the lead actor. Her role is complex and laden with a duality that causes her character conflict: Does she side with the suave bandit or the cold bounty killer? Her decisions are the most important moments of the film, a significance rarely seen among western damsels from either side of the Atlantic.Why has this film been so overlooked? Not only will western fans who scoff at spaghetti westerns find it interesting, but non-fans of the western genre will doubtlessly be drawn to the plotting and characterizations. The gunplay and bravado are just gravy on top of a wonderful concoction. 8/10

KREEPY Given a free reign in New Chacos, the town in which he was born and where his Mexican parents were murdered when he was a child, Jose Sanchez (Tomas Milian) does what he knows best - breaks the law. But like anyone who has received love, affection and moral guidelines in their infancy, Jose has moments of lucidity when he realises that he is doing wrong. The problem is that crime and the inherent ease with which Jose can take whatever he wants have become an addiction; an addiction which has eaten away at his moral fibres so much that even the townsfolk who have helped to free him from the gun of bounty killer Luke Chiltern (Richard Wyler) are treated by Jose with contempt.If there is one scene which compounds the extraordinary acting range of Tomas Milian into its unique whole, it occurs in this movie. Much of the action in The Ugly Ones takes place in the tavern of New Chacos owned by ex-gunman Novak whose niece Anna Eton (Ella Karin) helped free Jose from the law. In an intensely studied scene Milian portrays Jose as torn between obvious glee and tears as he contemplates robbing a young drifter who has just left the tavern. As he is emotionally torn in two his henchmen watch him. He is obviously a strong and charismatic leader to this gang of thuggish cut-throats, but there is a definite hint of caution among his gang in dealing with his schizoid personality. Finally, as if to put his mind at peace before their collective act of violence, Jose caresses, then cradles his head, on the butt of one of the gang member's guns before uttering his name, "Senor Gomez", a confirmation of his power and status.The Ugly Ones is a very classy western indeed which transcends its black hat/white hat scenario with finesse. It's a classic "siege" western but this time the enemy is within; Jose and his amoral gang of desperadoes as one enemy and the guilt and cowardice of the townsfolk as another. "Only the rich have to fear men like Jose Gomez, not the poor. He's one of us." Their voicing of sympathy for outlaw gangs often forced into delinquency by social circumstance is countered by Chiltern's simplistic view of the situation, "Today, that child's a murderer." The film is loaded with interesting notions of why Jose has become a killer. We hear of his parents' deaths and his family's land being stolen and also that he killed a Yankee soldier in a brawl following a barrage of racist taunts. So with all this prejudice heaped on him solely because of his Mexican nationality, is it any wonder that Jose is forced to become a ruthless criminal? Why should Jose pull rank and behave himself? The answer is simply because the people of New Chacos still care for him and still remember the innocent child who used to play with Ethan the blacksmith (Mario Brega). For this reason they helped him to escape Chiltern and for this reason Jose holds the bounty killer captive.But Jose spurns their affections and pathetic pleas for the violence to stop, preferring instead to drink himself into a stupor while his brutish friends engage in a particularly wild version of the "shooting and drinking" games which are as familiar to the spaghetti western as laughing Mexicans. When finally Jose and his men have stripped the town's businesses and caused as much destruction as possible it is Anna, Jose's childhood friend (and possibly sweetheart) who is brave enough to free Chiltern so that he can face Jose in a surprisingly vigorous showdown.The exceptional location work and baroque visual touches can be attributed to Enzo Barboni who lensed Sergio Corbucci's ferocious Django in the same year while the complex analysis of Jose's criminality can probably be credited to co-script writers Don Prindle and Jose Maesso as well as Eugenio Martin. The film also boasts some of the finest supporting performances in the genre, particularly Ella Karin who, uniquely for a female in a rampantly macho genre, is the only one who will stand up to Jose's violence while it is implied throughout that their emotional ties are the strongest. But the most phenomenal aspect of The Ugly Ones is Tomas Milian, staking his claim in his genre debut as a formidable western leading man and delivering what is in retrospect, the spaghetti western's most complex and most electrifying performance, equally tormented, resentful and vicious right down to his final gasping breath.

sirarthurstreebgreebling Released as "The Ugly Ones" this is a highly overrated italian western. Its slow (not interestingly so), Badly Filmed (although the print I saw was damaged) , Diabolical acting that even bad dubbing does not take away from and a plodding plot that the saturday b serial westerns of the 1940's would have been proud of. From the same time came a group of highly polished or just plain original versions of the theme that america had been churning out for 3 decades. The italians revived the genre , breathed life into it, but this monstrous waste of time seems to be a cyst on the backside of the industry that was chopped off , but not quick enough , it made the screen.