Very very predictable, including the post credit scene !!!

Good movie but grossly overrated

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

This film has always been my favorite western film of all time. The movie starts out with Clint Eastwood and Belle Star riding into the town of San Miguel. The two arrive at the town by landing off of a spaceship flown by the aliens from Close Encounters of the Third Kind. (making this a prequel to that film) After getting of the spaceship Clint Eastwood gets a strange sense of confusion do to the drastic change in altitude. He then strangles Belle Starr for three days, then tries to revive her. (It didn't work) Clint Eastwood then kills three members of the Baxter's then tells the coffin maker "My mistake four coffins" almost forgetting Belle Star's corpse lying out towards the town entrance. Clint then proceeds to screw over both the Baxter's and the Rojo's for his own personal gain. The ending of this movie was great Clint Eastwood is getting shot at by Ramon Rojo in the final duel and then stands out in front of Romon and says "hold on to something. here comes the rain, this damn is about to break" after a long pause Roman not buying into what Clint Eastwood is saying shoots him in the face killing him instantly like an idiot. A space fly's over picking up Roman and his gang, reveling that he was actually Clint Eastwood character all along. The strange feeling Clint had when getting off the spaceship was really Roman taking over his body.

What makes this movie work so well is that it is a good story to tell and it is told nicely and believably so that we get absorbed into it. It is interesting to note that the respect given to anyone that can wield a gun is acted out for us to see including how just having a gun is not enough. Everyone has a gun and men learned quickly to intimidate using gangs and numbers. However, what if someone came along who can fire a gun 5-6 times a second to another's draw? Enter the man with no name who is so good at what he does that he doesn't parade it but instead uses it when needed. It doesn't take long for the word to get out and a reputation is born. Clint Eastwood gives us someone to believe in and we do! Great supporting cast and stories within stories which when done right makes it a must see again and again. This movie is a comeback experience. I have seen it so many times and will see it again. Look for the classic scene where we learn not to insult Clint's mule. If one doesn't apologize for the slight, there is no second chance. LOL This is a good movie to snack with while watching with a tasty drink. It also makes you wonder too. There was a lot of money back then to be made but would you live to spend it? Find out when you go for your own "Fistful of Dollars...Enjoy

My father was a huge fan of Westerns, which meant that whenever one was on TV -- which in the 1950s and '60s was almost all the time -- the set was tuned to Gunsmoke or Bonanza or Laramie or Rawhide or whatever. And naturally, that meant my adolescent rebellion took its course into a distaste for the genre. Which is why the "spaghetti Western" phenomenon escaped my notice in its heyday. Having had my exposure to Clint Eastwood on Rawhide, I was certainly not going to pay money to see him in a theater. Perhaps if you had told me that A Fistful of Dollars was based on (or stolen from) Yojimbo (Akira Kurosawa, 1961), I might have been curious. But it was not until years later, when people began talking about Sergio Leone as an auteur, that my curiosity about the movie was piqued. By then I had overcome my indifference to Westerns, having learned that they were the essential American Myth, and having admired Stagecoach (John Ford, 1939) and Red River (Howard Hawks, 1948), so I was intrigued enough to check it out. I still think A Fistful of Dollars is a shade on the primitive side, and that Eastwood occasionally shows his discomfort at being directed by a man who doesn't speak English, but it holds up, not only as a precursor of the compelling violence of The Wild Bunch (Sam Peckinpah, 1969) and as a landmark in Eastwood's extraordinary career, but also as a tour de force: a Western filmed in Spain by an Italian with a polyglot cast. Best of all, it established the career of Ennio Morricone as one of the great film composers. (charlesmatthews.blogspot.com)

Many out there may not be aware that this film is a remake of Kurosawa's Yojimbo, done without permission from Toho, the production company who successfully sued Sergio Leone. Many scenes are straight out of the Japanese film, which is superior to Leone's in several aspects, including the film's pacing, direction of the action sequences, and the portrayal of The Man With No Name. Coming only three years after Yojimbo, which won two awards at the Venice Film Festival, it's odd that Leone thought he could get away with plagiarizing Kurosawa's work. Although entertaining in its own right, Leone's direction is often silly, such as his trademark milking of gun scenes with repeated close-ups meant to increase suspense but which ironically drain the scene of its desired tension. I watched the two films back-to-back, having never seen Yojimbo, and was surprised at how much more I liked the Japanese film. Even its music is better.