Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Casey Duggan It’s sentimental, ridiculously long and only occasionally funny

Taha Avalos The best films of this genre always show a path and provide a takeaway for being a better person.

TankGuy Bounty killer Luke Chilson makes it his business to bring in escaped bandit Jose Gomez. Gomez flees to a small settlement on the Mexican border pursued by Chilson, who is treated with contempt by the townsfolk because of how he earns his living. However, the welcome Gomez with open arms and see him as the "victim". The townspeople help Gomez overpower Chilson and the bounty killer is held prisoner in the town. Gomez' gang soon joins him and the townsfolk become increasingly disturbed by the outlaw's violent behaviour. This prompts Gomez' former girlfriend to free Chilson which sets the stage for the inevitable showdown...The Bounty Killer was released in mid 1966 when most spaghetti western directors were still practising their craft and only the likes of Leone or Corbucci could produce a truly amazing film. This movie is rather poor and makes for nothing more than a time passer, it's contents easily forgotten once the credits begin to roll. It does have its moments but failed to hold my attention, looking good on the outside but coming across as extremely tepid. Despite the interesting plot nothing much happens over the film's duration and the narrative is set around a dusty little settlement in the middle of the desert. Apart from the two leads all of the characters are one dimensional and uninteresting. Richard Wyler was pretty good as Chilson as was Tomas Milian as Gomez. Milian(in his first spaghetti western)chews the scenery but is really the film's saving grace. The soundtrack began to get tedious around the film's halfway mark and is one very dour composition, a far cry from a chilling Morricone score. Action is sparse but I will admit that the final showdown was pretty enjoyable. The OTT deaths intercut with the stern close-ups of Chilson's face did make me laugh a little. Jose Gomez gets a humorously melodramatic death which gives literal meaning to the term "...and another one bites the dust".Overall an okay spaghetti western which is still worthy of viewing. 6/10.

J_J_Gittes My first film by Eugenio Martin, and I am deeply moved. Nagisa Oshima once wrote that all filmmakers want to film sex and death the most. I always understood the first part, never the second. I think, now I do. The moment when Tomas Milian's character lies on the ground, dying, his face covered with dirt, and we see only half of it, as the camera shows us an extreme close-up, with a lonely tear rolling down his cheeks as he exhales his last breaths that stir the dust of the soil to lift itself up from the ground a few more times.The relentlessness of the view. The relentlessness of the camera watching. That's been something which I've been pondering a lot ever since I started falling in love with cinema. Looking, not wanting to let go, and at last having to, at some point in time – because everything has to end. That is death. Everything is death. We die a thousand times each day.Those looks, those insisting eyes Martin keeps us showing and showing, paired with the melancholy tunes of master composer Stelvio Cipriani are the heart and soul of the whole movie. Which is a melodrama at its core, a subdued, forlorn melodrama. A film of the past, looking upon it. Once upon a time in the West.The editing is also top-notch always putting people side by side, giving everyone at least a little attention and thus creating an ensemble piece of people, connected like beads on a string. Everyone is important in this film. Because everyone is human.The dying – in the end we all have to die. I would like to think that at the end of the movie, the protagonist, a Bounty Killer, doesn't collect the bounty for Milian's character but lets the townspeople bury one of their own, one who used to belong. He is still a part of them.Anyways, the film is a statement, a demonstration, an elegy, wonderfully executed up until the end-titles which must have been some of the first in film history created in this now dominant way. 1966: After the credits have rolled, the image turns black and we remain to hear a wailing trumpet and finally the last strings of a soothing guitar. Maybe it's not what you see before you die, but what you hear. The last sounds of this world.

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 .

marc-366 This film was oh so close to nearly losing me. Maybe my attention span was limited - it had been a pretty tiring day after all (but thats another - and highly uninteresting - story!). But anyway, for pretty much the first third of the movie I was convinced that it was notable purely for being Tomas Milian's first foray into the Spaghetti Western genre that he is so renowned for (and rightly so).Milian plays Jose Gomez, an outlaw treated with reverence by the small population that make up his hometown. He is freed from captivity by Eden (Zalewska), who looks at Gomez with wanting eyes, seeing him as a local hero. However, bounty hunter Luke Chilson (Wyler) is on his trail, and arrives at the town ahead of the escapee, to the wrath of the very protective townsfolk. When Gomez does arrive in town, with a group of bandits at the helm, the locals begin to experience that he is no longer the great man that they believed him to be, and begin to witness first hand why he has the bounty on his head.Whilst the opening sequences are slow and stretched to near yawning point (even for me and, hey, I like slow films!), the second half of the movie more than makes up for it. The film really hits the heights as the locals witness the transformation of Gomez' character. Milian plays this role expertly, demonstrating clearly the promise that was to blossom fully in the very near future. Wyler's bounty hunter on the other-hand is far more restrained, yet apt for the character he portrays. There is also a fine supporting cast that includes Spaghetti favourites Mario Brega and Frank Brana, and a pretty powerful soundtrack provided by Cipriani.All in all, I am relieved that I sat through the slow beginning, because the film does have so much going for it once it does get going. May day improved considerably. Well worth viewing.