movie has ambitions to look like one of Sergio Leone’s Italian Westerns—it has the eerie music and the vast landscapes and the irritating habit of opening and closing scenes with zooms as dramatic as they’re arbitrary. Watching it, we reflect that Leone was never too strong on plotting either (what actually happened in The Good, the Bad and the Ugly remains a matter of great controversy). But Leone at least was the master of great moments—stretches of film that worked, even if they meant nothing.
