The Good, the Bad and the Ugly (1966) Review

 

Three gunslingers compete to find a fortune in buried Confederate gold amidst the violent chaos of the American Civil War.

One of the greatest Westerns ever made. While Spaghetti Western For a Few Dollars More is debatably the better tale, The Good, the Bad and the Ugly is grander in scale and scope (thanks to director of photography Tonino Delli Colli), with the main characters even getting caught up in the New Mexico Campaign of 1862 — complete with war camps, prisoners, and an exploding bridge.

Clint Eastwood returns to the genre as protagonist Blondie (aka The Man with No Name), alongside Lee Van Cleef, who this time plays Angel Eyes (The Bad). Both Eastwood and Van Cleef are outstanding, with Sergio Leone’s 1966 offering benefiting from the addition of Eli Wallach, who delivers a sterling and memorable performance as Tuco Ramirez (The Ugly). The characters, written by Age & Scarpelli, Luciano Vincenzoni, and Leone (with additional material provided by an uncredited Sergio Donati), are well-defined archetypes, constructed perfectly.

The Good, the Bad and the Ugly features one of the greatest crescendo-building endings ever, and the film is complete with Leone’s perfectionist directorial trademarks. Ennio Morricone’s iconic theme completes the package, with a score that complements the three players double-crossing each other throughout to the closing Mexican standoff.

You can feel the heat and taste the dust in this highly influential, recommended Western.

For a Few Dollars More (1965) Review

 

Two bounty hunters — the enigmatic Man With No Name (Clint Eastwood) and the vengeful Colonel Mortimer (Lee Van Cleef) — cross paths while tracking the sadistic outlaw El Indio (Gian Maria Volonté). Initially at odds, they forge a wary alliance as the hunt spirals into a violent reckoning.

Of the three films in Leone’s Dollars Trilogy, For a Few Dollars More arguably boasts the strongest emotional narrative of his Spaghetti Westerns. Where Fistful was primal and The Good, the Bad and the Ugly sprawling, this entry finds perfect pacing and character interplay. Eastwood returns in fine form, but it’s Lee Van Cleef’s steely, vengeful Mortimer who provides the film’s moral spine and one of the genre’s finest performances.

Volonté, this time as the deranged Indio, chews every sun-bleached frame, while Mario Brega and other Leone regulars return in new guises — a clever touch that lends the trilogy a strange, shifting mythic quality. Morricone’s score is again magnificent, with the recurring musical watch motif providing one of cinema’s most memorable audio cues.

Leone’s command of pace, widescreen compositions, and operatic violence is unmatched here, with costumes and set design evoking a lawless, surreal frontier. It’s a film that lingers long after the final standoff.

Overall, it remains the finest story of the three Spaghetti Western classics — expertly acted, perfectly paced, and driven by Morricone’s unforgettable music

A Fistful of Dollars (1964) Review

 

A lone, nameless gunman arrives in a dusty border town torn apart by two warring families. Playing both sides against each other for his own gain, the drifter becomes a catalyst for violence, betrayal, and bloodshed.

While not the first spaghetti western, A Fistful of Dollars (1964) is widely regarded as the film that redefined the genre, shattering the influence of traditional American westerns. Sergio Leone's landmark offering took cues from Akira Kurosawa's Yojimbo and, to a lesser extent, Dashiell Hammett's Red Harvest, stripping away heroic archetypes in favour of morally grey antiheroes, ruthless violence, and dusty cynicism. Its DNA is so durable it would later inspire the likes of Walter Hill's Last Man Standing (1996), a direct reworking of the same core plot.

Over sixty years since its release, Leone's direction remains razor-sharp, conjuring a bleak, dangerous frontier where survival comes at the barrel of a gun. With some impressive makeup effects, Ennio Morricone's iconic score - sparse, eerie, and punctuated by whistling and gunfire - set a new standard for western soundtracks, becoming as essential to the film's character as its visuals.

Clint Eastwood, shedding the clean-cut image of his Rawhide days, delivers a career-defining performance as The Man with No Name. Taciturn, cunning, and lethal, Eastwood's portrayal laid the foundation for a new kind of western protagonist. Gian Maria Volonté offers suitably volatile menace as Ramón Rojo, while Marianne Koch brings quiet strength as Marisol, a woman caught in the crossfire.

The film builds steadily toward a memorable, tension-soaked finale - a showdown as stylish as it is brutal, solidifying Leone's gift for staging violence as operatic spectacle.

Fistful of Dollars changed the western forever, dragging it into rougher, dustier, and more morally ambiguous terrain. A genre milestone that still holds power.

Timebomb (1991) Review

 

After watchmaker Eddy Kay recuses a woman and her baby and is recognised on the News by a shady agent ad then an attempt is made on his life triggers haunted violent visions and latent combat skills and he is caught in a deadly conspiracy.

Timebomb feels oddly dated for a 1991 release. Directed by Avi Nesher, known for inventive genre projects, it echoes the tone of an '80s action-thriller. The plodding plot brings to mind elements from The Bourne Identity, The Manchurian Candidate, Total Recall.

Michael Biehn leads with his usual magnetic intensity as Eddy Kay. Best known for genre-defining roles in The Terminator, Aliens, and The Abyss, Biehn help lifts the film well beyond its modest production values. Supporting cast include Patsy Kensit (Lethal Weapon 2), Richard Jordan (Logan's Run, The Hunt for Red October), and martial artist Billy Blanks (The Last Boy Scout). Behind the camera, cinematographer Anthony B. Richmond (Don't Look Now, Candyman) and composer Patrick Leonard (At Close Range, The Secret of My Success) provide notable craftsmanship. The synth-heavy score fits the film's retro-futuristic mood, with the closing theme The Changing Man sounding like a lost demo Marillion track.

Despite the assembled talent, Timebomb never quite escapes its low-budget '80s B-movie vibe. Still, for fans of paranoid, retro action thrillers, it's a curious odd footnote - made watchable largely thanks to Biehn's committed performance.

Karate Kid: Legends (2025) Review

 Li, a young kung fu prodigy played by Ben Wang, moves to New York City where a confrontation with a local karate champion throws him into a culture clash of martial arts. With the help of his former master Mr. Han and veteran sensei Daniel LaRusso, Li must find his balance in life and combat.

Directed by Jonathan Entwistle and written by Rob Lieber, Karate Kid: Legends blends franchise nostalgia with contemporary coming-of-age drama. The New York locations are smartly used, grounding the film in a gritty, urban authenticity absent from recent franchise entries. It's a loose continuation of The Karate Kid (1984) and its sequels, also The Karate Kid (2010) and the television series Cobra Kai (2018-2025).

The first three quarters of the film treads new ground, with Lieber and Entwistle attempting to subvert expectations around relationships, mentorship, rivalry, and martial discipline. Jackie Chan brings warmth and quiet authority reprising his Mr. Han role, while Ralph Macchio steps easily back into Daniel LaRusso's shoes, adding depth and a few moments of genuine poignancy. Ben Wang makes an impressive lead debut, carrying both the action and dramatic weight.

Joshua Jackson adds presence, while Sadie Stanley and Ming-Na Wen effectively round out the cast. The cinematography by Justin Brown gives the film a polished, modern feel without losing the series' classic spirit, and Dominic Lewis's score pays respectful nods to Bill Conti's original themes while injecting fresh energy.

The final act, while fun and well-staged, plays out much as one might expect, but it's executed with sincerity. The icing on the cake is a humorous, self-aware cameo from William Zabka, delivering some of the film's sharpest laughs.

Overall, it's a worthy, heartfelt continuation elevated by strong performances, crisp direction, and a few smart narrative turns, even if its conclusion sticks closely to genre tradition.

Mission: Impossible - Rogue Nation (2015) Review

 

With the IMF shut down, Ethan Hunt becomes a fugitive, uncovering the Syndicate — a secret network of rogue agents sowing global chaos. Teaming with an enigmatic assassin operative, he faces one of his most dangerous missions yet.

Christopher McQuarrie steps into the director’s chair for the first time in the series and delivers a streamlined, tension-packed thriller. The film famously opens with Cruise literally hanging off a real ascending Airbus A400M — a jaw-dropping set piece that’s tough to top. Still, Rogue Nation keeps the pulse pounding with a breathtaking Vienna Opera House sequence, a nerve-fraying underwater heist, along with car, motorcycle chases and more.

Cruise, as expected, brings physicality and relentless drive to Ethan Hunt, while Rebecca Ferguson makes an unforgettable franchise debut. She’s sharp, unpredictable, and effortlessly holds her own against Cruise. Simon Pegg’s Benji is the heart of the team, his growing friendship with Hunt adding warmth to the peril. Ving Rhames, Jeremy Renner, and a cold, calculating Sean Harris round out a solid supporting cast, with Alec Baldwin adding bureaucratic weight as CIA chief Hunley.

Joe Kraemer’s score deserves mention — one of the stronger franchise efforts. He cleverly weaves Lalo Schifrin’s original Mission: Impossible motifs with bold, brassy orchestration. Recorded at Abbey Road, it’s a soundtrack that elevates both action and quieter exchanges without overplaying its hand.

Right down to the moody London spy thriller scene Robert Elswit’s cinematography keeps things visually slick, whether it’s dusky Vienna rooftops or sun-drenched Moroccan highways. Editor Eddie Hamilton ensures the film moves at a confident, unrelenting momentum, never outstaying its welcome.

Mission: Impossible – Rogue Nation confidently ranks among the series’ best. Smart, sharp, and packed with standout moments, it’s another reminder of Cruise’s death-defying dedication and McQuarrie’s tight, considered direction.

Universal Soldier: Regeneration (2009) Review

 

A broken, isolated Luc Deveraux (Jean-Claude Van Damme) forced back into action when terrorists seize Chernobyl, armed with a next-gen UniSol and a familiar ghost from his past.

2009's Universal Soldier: Regeneration wisely disregards the string of iffy sequels that followed the 1992 original with director John Hyams striping away the glossy sci-fi trappings in favour of a cold, brutalist action-thriller. The grim Eastern European setting, bleak colour palette, and bone-crunching fights lend it a pared-down, dystopian feel that works in the film's favour. Interestingly, renowned director Peter Hyams (Timecop, Outland, Sudden Death to name a few) carries out cinematography duties.

Van Damme gives one of his more restrained, haunted performances a Luc/GR44, while Dolph Lundgren returns as a cloned Andrew Scott, adding menace without tipping into parody. Andrei Arlovski's NGU is a relentless physical threat, with Hyams staging long, violent sequences full of raw, sweaty tension.

It's a low budget film of tight focus, jettisoning any high-concept sci-fi for hard-edged action, clinical military conspiracies, and bleak tragedy. Michael Krassner and Kris Hill's cold, minimalist score suits the mood perfectly.

It was followed by Universal Soldier: Day of Reckoning (2012) which is more of a Scott Adkin's vehicle, where Van Damme and Lundgren take a back seat.

Overall, Regeneration remains a surprisingly effective, stripped-down revival - and one of the franchise's best entries.

Rust (2024) Review

 A 13-year-old boy, forced to care for his younger brother after their parents’ death, faces the noose for an accidental killing. His only hope — a hardened, estranged grandfather who spirits him away on a dangerous journey into new Mexico.

Director Joel Souza crafts tense, understated set pieces and character-driven exchanges, wisely letting his actors carry the film’s emotional heft on the back drop for real locations and great sets.

Cinematographers Bianca Cline and Halyna Hutchins deliver outstanding work here, giving the film a crisp, high-budget sheen with sweeping vistas and intimate character moments that ground the drama. Like it or not, the heavy grim colour timing adds to the mood as the leads encounter a variety of characters on the way.

Alec Baldwin leads as dangerous Harland Rust, the grizzled outlaw, while Patrick Scott McDermott portrays Lucas Hollister. The young McDermott impresses with a grounded, emotionally resonant performance. Travis Fimmel delivers a menacing turn as bounty hunter Fenton "Preacher" Lang, and Josh Hopkins is notable in as U.S. Marshal Wood Helm. Frances Fisher adds depth as Lucas’s grand-aunt, while Jake Busey also appears. Baldwin offers a solid performance as Rust, reminding viewers of his ability to inhabit morally grey characters with ease.

The acting across the board is first-rate, with the child actors particularly standing out for their naturalistic performances. Composers James Jackson and Lilie Bytheway-Hoy provide a restrained, evocative score that supports the film’s mood without overplaying it.

From the outset, there’s a clear emphasis on firearms, which feels a touch ironic given the tragic on-set death of Halyna Hutchins that shadowed this production. Yet, at its core, Rush is a Western — and guns, rifles, and frontier lawlessness remain intrinsic to the genre’s DNA, whether or not the Second Amendment feels relevant today.

Overall, Rush may not rewrite the Western rulebook, but it delivers a well-crafted, visually striking entry into the genre — one that feels both classic and modern in its execution. It’s a pity it landed straight to VOD. 

Mission: Impossible - The Final Reckoning (2025) Review

 

Ethan Hunt faces his most perilous mission yet as a powerful rogue AI threatens global security, forcing him and his IMF team into a race against time.

As expected, Tom Cruise leads with relentless energy and physicality, delivering white-knuckle set pieces that leave you breathless — notably a vertigo-inducing plane sequence and a nerve-shredding underwater scene with cinematography by Fraser Taggart.

There are familiar callbacks and nods to earlier entries, some welcome, others feeling thinly shoehorned. It hints at behind-the-scenes shifts, and writers Christopher McQuarrie and Erik Jendresen’s script feels like it’s been tweaked mid-flight.

That said, McQuarrie’s direction remains razor-sharp. The action is meticulously staged, and Cruise’s death-defying commitment keeps the franchise's pulse racing with a great score from Max Aruj and Alfie Godfrey.

Cruise is on fine form throughout. Hayley Atwell is a standout as Grace, injecting the film with charm and unpredictability, a much-needed spark alongside franchise regulars Ving Rhames and Simon Pegg. Esai Morales’ Gabriel, while performed with commanding presence, feels somewhat run-of-the-mill for a villain.

Pom Klementieff makes a notable appearance as Paris, a ruthless French assassin, while Henry Czerny returns as Eugene Kittridge — a welcome callback. Rolf Saxon also reprises his role as William Donloe from the first instalment to name a few. Both Angela Bassett and Hannah Waddingham are notable add further weight to the ensemble.

Overall, The Final Reckoning narrative clutches for the heights of its predecessors, and delivers where it counts — in sheer sweaty-palm spectacle and suspense.

Damaged (2024) — A Cautionary Case Study in IP Infringement and CRM

As both the original rights holder, creator, and writer of Shadows of Dismemberment, I’ve spent eight months consulting legal professionals with a background specifically in intellectual property (IP) and copyright law. It’s necessary I address the situation surrounding the 2024 feature film.

Following a detailed comparative analysis, it’s apparent the film constitutes an unauthorised derivative work, lifting substantial narrative elements, character composites, and thematic constructs from my novel. Notably, it replicates the story beats, sequences, and key events — following the same locations and in the same chronological order as originally presented in the source material. However, the adaptation is both partial and crude — roughly repurposing one half of the novel’s structure while abandoning its thematic integrity and narrative stakes in favour of sensationalist content.

After consultation with IP counsel, the complexities of pursuing injunctive relief, takedown actions, or damages became clear. Given its limited theatrical release window and subsequent transactional VOD (TVOD) and SVOD distribution, the potential ROI (return on investment) from litigation would be negligible. Furthermore, cross-jurisdictional IP enforcement — given the multi-territory release strategy and chain of title ambiguities — adds further barriers.

Unlike major publishing houses or authors with institutional backing, I’ve independently financed my career at every stage. There’s no litigation funder, E&O (errors and omissions) policy coverage, or contingency-based legal team behind me. The likelihood of securing pro bono representation for a matter like this — particularly where financial recovery would equate to a percentage of the film’s modest production budget — is statistically slim.

Sometimes, protecting your work isn’t enough. It’s not just about registering it — it’s about having the resources to defend it. In this case, that’s not an option. Without the necessary financial backing or institutional support, pursuing legal action becomes an impractical and unlikely course.

Ordinarily, one would expect a reasonable resolution in these circumstances: monetary compensation, an agreed-upon payment for the unauthorised use of the novel, a fair percentage of the film’s profits, royalties or backend points on future revenues, and clear, prominent on-screen credit such as “Based on the novel Shadows of Dismemberment by A. M. Esmonde.” Further, assurances that no sequels, spin-offs, or derivative works proceed without prior written consent and agreed terms would also be standard. While these outline an industry-standard framework, the fragmented and opaque nature of how this particular film was produced — with loosely connected international partners, a narrow theatrical footprint, and minimal creative transparency — makes the likelihood of any retroactive agreement or enforcement challenging. In practical terms, implementation of these remedies is improbable without full cooperation from multiple rights holders and parties, which, to date, has not been forthcoming. While it’s clear that the two headline actors involved (including other cast & crew) in the film were likely unaware of the situation surrounding the unauthorised use of my work, it’s important to note that this is in no way a reflection on their talent or professionalism.

As such, I’ve elected to take the gentleman’s route: to raise this as a professional advisory and cautionary tale. Not for the sake of personal grievance, but to highlight the enduring gaps in IP protection for original content creators in an industry where chain of rights, clearance procedures, and story optioning practices are too often neglected. Maybe, in time, those responsible will do the right thing. It costs little to acknowledge where a work originated — and pay appropriate, even standard, compensation for its use.

While I’ve chosen not to publicly name the producers, writers, or distribution partners involved — their identities are a matter of public record and easily verifiable via standard industry databases and trade reports — the broader message remains clear.

To fellow creatives: register your work. Maintain a documented paper trail. Understand the limitations of moral rights protections in certain jurisdictions. And remember — not every infringement merits direct legal confrontation, but every case deserves to be recognised and learned from.

A. M. Esmonde