Il buono, il brutto, il cattivo 1966

Ty Burr, Boston Globe: The uncut new print reclaims the widescreen majesty of Tonino Delli Colli's cinematography, allowing you to see every iconic wart and furrow on every bad guy's face. Read more

Michael Wilmington, Chicago Tribune: An improbable masterpiece -- a bizarre mixture of grandly operatic visuals, grim brutality and sordid violence that keeps wrenching you from one extreme to the other. Read more

Dave Kehr, Chicago Reader: Though ordained from the beginning, the three-way showdown that climaxes the film is tense and thoroughly astonishing. Read more

Stephen Whitty, Newark Star-Ledger: It's great to see a great director's film as he intended it, with rich color and restored sound. Read more

Roger Ebert, Chicago Sun-Times: Art it is, summoned out of the imagination of Leone and painted on the wide screen so vividly that we forget what marginal productions these films were. Read more

Colin Covert, Minneapolis Star Tribune: Leone's blockbuster is balanced on the razor's edge between popular entertainment and art film. It took classic American themes and turned them inside out. Read more

TIME Magazine: 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. Read more

Tom Huddlestone, Time Out: 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. Read more

Variety Staff, Variety: 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. Read more

Michael Atkinson, Village Voice: All told, and in giant widescreen, it's only blood-red adolescent fun, but it blooms like Douglas Sirk with a Gatling gun compared to the teenage demographic's current fare. Read more