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Excellent, Without a doubt!!

best movie i've ever seen.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

This movie feels like it was made purely to piss off people who want good shows

It's doesn't stand out as much as the other Spaghetti Westerns movies, I have watch. Its story doesn't seem that interesting at first glance, but it is, once you get into it. It's just would be better told in a more enhanced writer's hands. Remind me of 1957's 3:10 to Yuma or Anthony Mann's 1953's The Naked Spur with its story. Though based on the western pulp novel by American Marvin Albert call 'Bounty Hunter', this movie follows the same basic patterns as other Italian flicks with the whole resurrection & insurrection plot line. That's if you can find this rare movie. It's badly damaged or cut by the years. Some versions are missing dialogue or violence key scenes. Some of the voice dubbing sound is missing, so that at these points the English audio with subtitles was used. There is also muffling and few background hiss. There are hints of very minor cropping at the sides of the print but seems to be original aspect ratio. It depends on what version, you end up getting. It doesn't help that 'The Ugly Ones' has many internationally re-released titles such as The Bounty Killer, The Days of the Guns, The Price of a Man, No Money equal no coffin, and etc. etc. It might get confusing, but all of those titles are the same movie. Directed by Eugenio Martín, the film marked the debut of Tomás Milián in the western genre playing the bad guy Jose Gomez, an outlaw treated and protected by his hometown from the law because they believe he is a local hero. Only one man, can be brave enough to risk the odds, and capture him; Bounty hunter, Luke Chilson (Richard Wyler). The pacing in the film is really slow, and stretch to near yawning point. The opening sequences of Luke Chilson catching another escapee, and Jose Gomez escaping could be cut out, and it wouldn't make any different in the end. The second half of the movie, more than makes up for it. The action scenes are pretty good. I do like the diner escape scene. The violence is not over the top, it's has some realistic looking dangerous stunt work. There's a scene where a guy gets shot off of his horse, and after he falls, that horse rolls right over him. That couldn't have felt very good. Also scenes of blood, bruising, and one shot kills that isn't fake looking. The acting is great. I'm overall impression of Milian committed to portrayal a man on a path of self-destruction. The film is loaded with interesting complex analysis of Jose's criminality ranging from his parent's violence death and land stolen by American raiders to racism by law enforcement. In the movie, violence and corruption traps Gomez, who led by his own good intentions, in the end become more corrupted and violent as those that brutalized him. By making Gomez more likable and romantic in nature. The audience is almost likely get sucker punched into rooting for him, until the evil fabric of his character becomes apparent. The film really hits the heights as the locals see the transformation of Gomez's dark side peeking out, more and more. Milian plays this villain role great, but in some scenes it seem like he is just murmuring nonsense. Wyler's bounty hunter is far more restrained subdued stoic good guy, yet apt for the character he portrays. Thank goodness, Chilson does not succumb to becoming a romantic lead in this. He is a well-drawn character rather than a stock heroic figure that you expect in a western. Surprising even the female role play by Halina Zelewska as Eden is never degrades her into a sex object due to her character's complex duality between Gomez and Chilson that causes her character conflict. Her decision play the biggest part of the ending in the film. It has weight with the black hat/white hat scenario. Some people see it as a right wing message that says the poor should look deeper into what they call these Robin Hood type heroes. I have to somewhat agree. Altogether, this creates an interesting story that is very sophisticated for what is, basically, a B-List movie. The camera work is pretty good, and captured both the wide open spaces and the claustrophobic confines of the buildings where much of the action in takes place. Once again, watch the diner scene again. There is a very abnormal implementation of zoom shots in the camera work during some particular scenes as the film approaches its climax use as a dreamlike intoxicated, surreal fragmentation of Gomez's mind. 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. It's somewhat annoying and headache to watch. The soundtrack is exceptional with a score by Stelvio Cipriani that exemplifies the unique qualities of the Euro western score. Overall: it's worth the watch if a Spaghetti Western's fan, but a bit forgettable compare to the other flashy Spaghetti Westerns, I'm used to.

The dusty looking Spaghetti western "The Bounty Killer," known also as "The Ugly Ones," ranks as an above-average, Italian-made oater with the prolific Tomas Milian as a charismatic outlaw and Richard Wyler as a bounty hunter. "Bad Man's River" director Eugenio Martín, along with genre pioneers José Gutiérrez Maesso of "Minnesota Clay" and James Donald Prindle of "Gunfight at Red Sands," did something entirely different from most Spaghetti westerns. They used an American western novel written by Marvin Albert as their source material. In fact, Albert wrote several other westerns that Hollywood turned into westerns. "Rough Night in Jericho," "Duel at Diablo," "Bullet for a Badman," and "The Law and Jake Wade" were the others. Despite the atriocus dubbing on the Echo Bridge version, "The Bounty Killer" is a fast-paced horse opera lensed on western sets left over from other westerns around Alme. and against mountains terrain that the best of the early Spaghetti westerns were made. The arid Spanish scenery substitutes splendidly for the parched American southwest, with future "Trinity" helmer Enzo Barboni creating striking pictorial compositions that are complemented by "A Stranger in Town" composer Stelvio Cipriani's catchy, atmospheric music. "The Bounty Killer" appeared during the first phase of the Spaghetti western, when the Europeans made them with noisy gunfights, screaming horses, and thoroughly despicable villains. Nothing is really distinctive about Richard Wyler's heroic bounty hunter. He looks like he could have ridden out of a 1950s' Hollywood sagebrusher.

Great opening and closing shots, and everything wonderful in between as the camera captures both the wide open spaces and the claustrophobic confines of the station and its various buildings where much of the action in THE UGLY ONES takes place.For a change well drawn characters rather than a catalogue of stock figures that you expect in a western. Unusually the female lead is a strong individual; the villain of the piece remains the most interesting and complex, and thankfully the bounty hunter does not succumb to becoming a romantic lead.This film is violent for its time and I enjoyed the reliance on fisticuffs, rather than just gun-play.The soundtrack is exceptional with a score by STELVIO CIPRIANI that exemplifies the unique qualities of the Euro western.This is a film I would recommend to any film-goer, and equally important, certainly one that I would watch again (8 out of 10 for this genre).

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.