(SPOILERS. This is a don’t-read-before-seeing-the-movie review.)
Quentin Tarantino tries out a couple new tricks in his new one, THE HATEFUL EIGHT: he shot in extra-wide 65mm Cinemascope, and helped hook up a bunch of theaters with 70mm projectors (and projectionists, I assume) to show an early, longer version of the movie complete with an overture, intermission and program. He got Ennio Morricone to compose and orchestrate some new music for it (Tarantino’s only previous original scoring was some bits by RZA and Robert Rodriguez for the KILL BILLs). But it also feels pretty familiar: his second extreme-racism western in a row, with chapter titles like KILL BILL, full of conversation suspense scenes like INGLOURIOUS BASTERDS, mostly one location like RESERVOIR DOGS, some non-linear jumps like most of his movies, and a cast with plenty of his regulars (Samuel L. Jackson, Kurt Russell, Tim Roth, Michael Madsen, James Parks, Zoe Bell, Waltong Goggins [I almost forgot he was in DJANGO UNCHAINED). Just as INGLOURIOUS BASTERDS got away with some out-of-the-blue, seemingly incongruous narration by Jackson, HATEFUL EIGHT follows up its intermission with some omniscient narration that you suddenly realize is Tarantino himself. I can see why some people would hate that, but I loved it. I mean, who are we fooling, we all know it’s this guy talking to us through this movie anyway. And it helps kick off the second half with an energy the first was lacking.
Here’s something brand new for a Tarantino movie: I didn’t immediately love it. I’m honestly still trying to figure out how I feel about it. I’m not sure I get it. I remember that with both INGLOURIOUS and DJANGO I had misgivings on the first viewings that later seemed completely irrelevant. With the former it was thinking that Brad Pitt seemed like Brad Pitt playing a funny character, he didn’t inhabit the character the way previous Tarantino leads had. With the latter it was that Tarantino had never done a movie that followed one character chronologically, and it seemed kinda too simple for him. Both of those seem like dumb complaints to me now, and I loved both movies without reservations on subsequent viewings. Even so, their first times I liked better than this first time. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
SELMA is a story about the influential social justice warrior Dr. Martin Luther King Jr. Not a biopic, but a movie focused on one specific campaign, a march through Alabama to demand a law to protect voting rights. The importance of this legislation is illustrated by an old black woman who, though clearly exhausted from her shift at a nursing home, and intimidated by the experience of her previous attempts, tries to register to vote. The white clerk says she’s “stirring up trouble,” threatens to tell her boss about it, and gives her an impossible local government pop quiz before gleefully rejecting her. That the lady is played by Oprah Winfrey, who more than a few people wish would run for president, adds a little meta-weight.
At one point SELMA was gonna be directed by Oprah’s friend Lee Daniels, whose combination of talent and insane tastelessness could’ve been a problem for this story. But I think he was responsible for the brilliant stroke of casting David Oyelowo (the snobby reporter Yardley in THE PAPERBOY, the militant son in LEE DANIELS’ THE BUTLER) as King. Daniels was also gonna have Robert De Niro, Hugh Jackman, Cedric the Entertainer, Lenny Kravitz and Liam Neeson in the cast. I imagine Neeson would’ve been the voice on the phone harassing Coretta Scott King (played in the actual movie by Carmen Ejogo, who also played King in BOYCOTT, and other characters in ALEX CROSS and THE PURGE: ANARCHY).
Oyelowo (who had also worked with director Ava DuVernay in MIDDLE OF NOWHERE) somehow fattened his face to create a surprisingly good likeness. I’m told he just gained weight, it’s not makeup, but how the fuck do they do that? It’s not like his body is real fat, how did they know he’d gain the weight there? Do they have physical trainers that can focus your diet and workout that specifically? Do they use computers? (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
I remember the first time I saw RESERVOIR DOGS it was with a bunch of dudes that had seen it a bunch of times and knew all the dialogue and shit. I thought it was great but I didn’t really get those guys, I didn’t think I would end up watching it over and over again.
Since then we’ve seen Quentin Tarantino go through the hip hop arc of exciting new thing, “it’s only a fad,” a decade later it’s obviously here to stay and still growing so quit your grumblin ya old grouch. In fact I did the math wrong when I was watching this, I was thinking it was turning 18 this year, it would be old enough to vote. And let’s be honest, it’s not voting for Obama, ’cause it’s kinda racist and also it probly thinks any Democrat wants to take its guns away. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Well, so far this summer of 2001 we’ve been having hasn’t been too hot. But at least we got that new Tim Burton movie coming out, right? I don’t know why they gotta remake PLANET OF THE APES but it’s a great cast and that guy knows what he’s doing, I’m sure he’ll do something interesting with it.
Nope. 10 years later I’m not sure I need to explain why the PLANET OF THE APES remake is no good. I don’t remember there being an argument about it at the time, or ever encountering anybody that liked it in the decade since. It was a bad idea, it was not good, let’s all pretend it never happened. The end.
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Yeah I know, this Iraq deal is getting even worse but let’s just take one fuckin column to talk about what I used to talk about, the movies.
This month has been hard on the wallet not just because of the economy but also because of numerous high quality dvd releases of important films of Badass Cinema. Today I will take some time to review a few of those dvds.
First of all we got my pick for the best movie of the year so far, BLADE II. I feel I have already written enough about the many fine qualities of this picture so I will focus this review only on the many fine dvd extras brought to you by one of our best directors, Mr. Guillermo del Toro. This is a part of the “New Line Platinum Series” which I have come to know and trust as a series of dvds with extra material above and beyond your “theatrical trailer” or your “chapter stops” or even your “weblinks.” (Does anybody really have a DVD-ROM drive? And if so, do they really need a dvd to figure out how to find the web site for BONES?) BLADE II is no exception, in fact it has even better extras than BLADE I. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
Shit man I really can’t believe nobody told me about this movie! I’m out of the picture for most of the ’90s and all the sudden Bruce is in a classic film that is NOT a Die Hard!
This is the story of Butch Coolidge, a boxer who gets mixed up with a crime boss named Marcellus Wallace. Marcellus pays Bruce to throw a fight. Word spreads that the fix is on and the odds get out of control. Butch and his buddy in Tennessee make huge bets on the fight and then instead of throwing it, he beats the other dude to death.
He flees to a hotel to hook up with his lady friend Fabian who is French I believe. This scene is a study in contrasts because we see that this bad motherfucker who beats a man to death comes home to his lady and gets all cute on us. They’re all baby talking, rolling around on the bed snuggling and talking about “give me oral pleasure,” “will you kiss it,” etc., It’s so true to life it’s embarrassing to watch. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
In this movie Bruce plays Leo, a drunk rich dude calling his wife on a cell phone. It’s a small part but this is Bruce we’re talking about and he makes it fucking SOAR. He’s hanging out in a hotel room with this spoiled celebrity jerry lewis fan and they decide to re-enact a bet from an alfred hitchcock episode and if they lose the bet a man loses his finger which is kind of a dumbass bet to make in my opinion but hey man, free country.
Well Bruce doesn’t have a whole lot to do with all that, he mainly has this conversation with his wife he’s going to be home late and it’s funny. But this is only the last of four “rooms,” little stories about what goes on in this hotel even when Bruce is not there. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
(I get residuals and/or the respect of my publisher, you get to have your life changed forever by the power of my words)
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(SPOILERS. This is a don’t-read-before-seeing-the-movie review.)
SELMA is a story about the influential social justice warrior Dr. Martin Luther King Jr. Not a biopic, but a movie focused on one specific campaign, a march through Alabama to demand a law to protect voting rights. The importance of this legislation is illustrated by an old black woman who, though clearly exhausted from her shift at a nursing home, and intimidated by the experience of her previous attempts, tries to register to vote. The white clerk says she’s “stirring up trouble,” threatens to tell her boss about it, and gives her an impossible local government pop quiz before gleefully rejecting her. That the lady is played by Oprah Winfrey, who more than a few people wish would run for president, adds a little meta-weight.
released July 27, 2001
Yeah I know, this Iraq deal is getting even worse but let’s just take one fuckin column to talk about what I used to talk about, the movies.
Shit man I really can’t believe nobody told me about this movie! I’m out of the picture for most of the ’90s and all the sudden Bruce is in a classic film that is NOT a Die Hard!
In this movie Bruce plays Leo, a drunk rich dude calling his wife on a cell phone. It’s a small part but this is Bruce we’re talking about and he makes it fucking SOAR. He’s hanging out in a hotel room with this spoiled celebrity jerry lewis fan and they decide to re-enact a bet from an alfred hitchcock episode and if they lose the bet a man loses his finger which is kind of a dumbass bet to make in my opinion but hey man, free country.
