But I'm not a grumpy young man ...
Korano is right, if I don't like a film it's not worth to waste the time thinking about it. To say that this particular film is boring is just enough.
These beeeg action scenes in SWs are mostly a real pain, while the shorter ones, the quick ones are mostly a real pleasure.
I find the beeeg ones nearly all terrible. They are done mostly in a rather static and unbalanced way, often against the rhythm of the film, and they are too often build around old fashioned looking stuntwork.
Even worse most of them are a bit unnecessary, at least in their excessive length.
Nowadays nearly every action film seems to have unbelievable well done big action scenes. Even in cheap modern action flics I can find easily an undeniable sense for highly aesthetic action directing. That many of the modern action films fail to include these brilliant filmed action scenes in the narrative in a satisfying way, that's another story ...
And Valerii as director ...
I have changed my mind about several SW directors I disliked a few years ago. Most prominent I learned to appreciate the work of directors like Carnimeo, Parolini, Mulargia.
But Valerii's directing hasn't improved in my esteem despite multiple viewings.
Day of Anger and the Price of Power belong nevertheless meanwhile to the good ones. When I first saw them back in the late 80s, both were only mediocre films for me. Since my personal SW craze has started a few years ago, this has changed also, but not as much as it could have been with a more powerful and imaginative directing.
In these 2 and in Taste of Killing he is copying Leone, but without any inspiration, without a personal input, without giving the often copied Leone style a personal touch to make something own out of it. As a result his films are only solid and overall a bit lifeless.
Phil Hardy is right about the absence of style in Day of Anger. Only that The Price of Power isn't a great improvement, despite Valerii's efforts.
Both films are as good as their stories, and Valerii isn't able to make something outstanding with these promising ideas. After all, he doesn't spoil them, as he did with the inferior A Reason to Live, a Reason to Die.
Everything I don't see in any of Valerii's 4 westerns, I can find in abundance in My Name Is Nobody. None I have said about Valerii goes for Nobody.
Thank you very much Sergio.