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So, a friend of mine told me that if I didn't mind "Django Unchained," I wouldn't mind "Inglourious Basterds." I didn't mind it, and actually somewhat enjoyed it. Christoph Waltz, in both movies, is really good - there's a certain "Intellectual 'It Factor'" to his demeanor that makes him highly likable and highly unlikable at the same time, all the while being believable, even when in unbelievable situations. Didn't I just say something similar about Tom Cruise and "Jack Reacher?" As one example of me (or is it "my") not hating "Inglourious Basterds," I'm just not on the same page as this review: Aug 21, 2009 - "Review: 'Inglourious Basterds'" by Peter Rainer on csmonitor.com (Forget that it's the Christian Science Monitor - that is an intelligent publication that, yes, has it's biases, but is worth more than dumbed-down criticism for the masses. That said, I'm surprised that this review got a "non-rotten tomato" on rottentomatoes.com For those of you who didn't recognize the term "OSS" just before Hans Landa (Christoph Waltz) shouted "Bingo!" - I began this thread last year, and this is the first time I've heard the OSS mentioned since that day.. Had this fantasy been reality, there probably would have been no bombings of Hiroshima or Nagasaki, as all necessary personnel could have been diverted to the Pacific Theater.
I saw "Pulp Fiction" when it came out in 1994, and *hated* it - it was my first Quentin Tarantino film, and I was so turned off by all the gratuitous violence that I just couldn't stand the movie. My second stub of a Tarantino film I saw was "Reservoir Dogs" which did nothing to ingratiate him to me. I am simply not impressed by how much violence you can throw up on a screen, unless that violence is there for an artistic purpose. That said, I really enjoyed "Django Unchained," but oh my God it was hard to watch (remember Paul Dano making the slaves clap while he sang?) And, since I liked Christoph Waltz so much in that film, a friend recommended that I watch "Inglorious Basterds." What I'm hoping, is that in the past twenty years, shows like "The Walking Dead" have gotten me so numb to graphic violence that it won't bother me as much, and I'll be able to "look through it," whereas I was unable to in the past - it makes sense, as things have changed a lot in the past two decades - was Quentin Tarantino the Jack Kevorkian of violent directors? (I used to think Kevorkian was a terrible person, opening up this can of worms; now, I've matured, and strongly support physician-assisted suicide, death-with-dignity, etc., and look at Kevorkian as something of a trailblazer that I was simply not personally ready to handle. Maybe it's a stretch - maybe a *big* stretch - to equate Tarantino with Kevorkian, but it's the same general principle ... I think. I'm not 55 minutes into the film, and I see it more as a comic book-like form of escapism, without any deep meaning (unless I'm missing something), and also without such a terrible amount of violence (Samuel L. Jackson's and John Travolta's shocking kill scene notwithstanding). Travolta is currently rushing Uma Thurman to the hospital, pretty much peeing his pants at the thought of what might happen if things go completely wrong. My biggest issue with Tarantino - not so much "Tarantino" as "Tarantino fans" - is that so many of them seem to think he's such an intellect, and all I see is a kid with brass balls, willing to speak his mind and do what he wants to do, exploiting shock value as a substitute for serious artistic merit. He's kind of like David Mamet with gory pictures. There's nothing wrong with that (goodness knows, I have my little cache of entertainment completely devoid of substance (and no, I'm not talking about porn; I'm talking about some of the more vapid TV series I've been power-watching over the past few years), and I make no pretense that they're any kind of high art). After Thurman and Travolta shook hands on keeping Marcellus in the dark about her OD, and Travolta says he's going to go home now and have a heart attack, she said to him, "Vincent!" He turns towards her. She says, "Don't you want to hear my 'Fox Force Five joke?' Okay, now that came so far out of left-field that it made me laugh out loud - it was truly funny because it was just so random. Tarantino gets points for his capacity to come up with a John Cleese-like joke in the damndest of situations. That was wonderfully silly, especially since the joke itself wasn't funny in the least. Okay! Okay! Christopher Walken's "watch delivery" routine was low humor at its absolute apogee - as it kept going, it kept getting more-and-more outrageous, funny, and cringe-worthy, all at the same time. Like the kid is going to know what dysentery is! Oh, this is just too much! I honestly wonder how many takes the scene took before Walken didn't laugh - he was masterful, but there's a zero-percent chance any human being could have done this in one take without laughing, and once you start laughing, it becomes infectious, so maybe it took twenty takes - regardless of how many it took, the end product was worth it. And sure enough, the watch becomes a major MacGuffin going forward - something powerful enough to compel him to (cue George Takei: "Oh, my!") go back to his old apartment. *** SPOILERS FOLLOW *** (Don't read this part if you haven't seen the movie yet.) "Pulp Fiction" seems (and I don't remember it well, because I haven't seen it since 1994) like it's about to take a major pivot at the point where Bruce Willis shoots John Travolta. Did anyone notice what book John Travolta was reading in the can? He was reading the pulp-fiction classic, "Modesty Blaise." - pretty good humor, but man, Travolta's visage was grim, grim, grim (I mean, I guess that's understandable when you've just been pumped full of lead, but still - he didn't look dead; he looked depressed). I think if I chose a caption for this screen-shot, it would be, "Oh, fuck." Paired with the James Bond-inspired, "00Fuck" and "What the fuck?" I mean, I guess you sow what you reap, but this is pretty brutal (and I'm calling bullshit on how silent the silencer was; nevertheless, that was an imposing piece of iron). Hmm, I wonder if Butch's (Bruce Willis's) chance encounter on the roadway with Marsellus (Ving Rhames) was a tribute to Janet Leigh experiencing the exact same thing in "Psycho" with her boss, Vaughn Taylor - I can't imagine it wasn't, because it was just too closely parallel - they were walking in the same direction, and everything. Anyway, that immediately popped into my mind. Of course, what happened immediately afterwards in the two movies could not have been more different. You know what? I can already tell that I've been desensitized to ultra-violence over the past twenty years, which is kind of a shame - "The Walking Dead" pretty much completed the process for me. The violence in Pulp Fiction - which is *very* violent - just comes across to me now as cartoonish (which, I gather, it was always supposed to be, but twenty years ago, it really bothered me). Society has gone to hell, and I've gone with it - handbasket and everything. I'm not sure this is such a great thing, but it is unquestionably true. What's next for me - maybe ISIS beheading videos won't bother me any more? Damn it, I don't *want* to be like that. Still, the only way anything can be grosser than "The Walking Dead" is if the violence is portrayed more artistically (cf: "The Cook, The Thief, His Wife, and Her Lover." which is a serious piece of art, with violence that's much more disturbing than any of these cartoonish movies and shows). My goodness, speaking of homages - and I don't know how I missed this before - the rape scene *must* be a tribute to "Deliverance": The only thing that's missing is Ned Beatty. I'm every bit as sure of this as I am about "Psycho," and it makes me wonder how many other tributes are in this film that I"m *not* picking up on - I suspect there are several, perhaps even quite a few: The format of the movie lends itself perfectly to random insertion of tributes. (Trivia: Did you know that there was an actual banjo player hidden behind Billy Redden, playing "Dueling Banjos" in "Deliverance?" I've watched that scene a lot of times, and it's amazing how real they make it look.) It's so coincidental - yesterday, I watched "Dog Day Afternoon," and at the end of the film, the FBI agent repeatedly tells John Cazale to point his gun up, in case they "go over a bump in the road." I had a pretty good idea that was a load of BS, but I don't ever remember having heard it before in a film. In "Pulp Fiction," John Travolta turns around and talks with Marvin, who's sitting in the back seat, and guess who accidentally gets a lead facial? All because Travolta wasn't pointing his gun up - and it truly was an accident: I cannot name a third picture where I've seen the subject broached before, and yet, it played a key role in both of these films. Ugh, I just got to the part where Quentin Tarantino tries to act - he can't. I'm not saying he hasn't gotten better in the past 23 years; I'm just saying his acting in this movie was pretty lame. And Samuel L. Jackson is funny as hell. <When they're cleaning out the car from the shooting of Marvin> ... "You the motherfucker should be on brain detail!" The UC Santa Cruz *Banana Slugs*? How can you not be amused by this dialogue? Vincent: Jules, look, what happened this morning, man, I agree it was peculiar. But water into wine, I ..." Jules: "All shapes and sizes, Vincent." Vincent: "Don't fucking talk to me that way, man." Jules: "If my answers frighten you, Vincent, then you should cease asking scary questions." Vincent: "I'm gonna take a shit." Then, it turns out that this is the Epilogue of the Coffee Shop Robbery, the Prologue (which was the exact same moment in time) having been shown during the film's opening, but from a different perspective (the Prologue's perspective of Honey Bunny (Amanda Plummer) and Pumpkin (Tim Roth); the Epilogue's perspective of Jules and Vincent). Wow. When Pumpkin held Jules at gunpoint, and forced him to open the briefcase, the contents of which remained unknown, but clearly contained a mysterious light, shining from within, there was yet another, absolutely unambiguous reference to another classic film: "Kiss Me Deadly." Confidence level? Pretty close to 100%. Some people might think "Raiders of the Lost Ark," especially because Pumpkin looked inside, and said, "It's beautiful" (remember Belloq, in Raiders, opening the ark, and crying aloud, "It's beautiful!"?) But make no mistake - this homage is to "Kiss Me Deadly," not Raiders - the light, which has absolutely no reason to be there, is the giveaway. It took me 23 years to regress into liking "Pulp Fiction." Or, did it take me 23 years to progress into liking "Pulp Fiction?" I'm vastly - vastly - more educated now than I was 23 years ago, and I'm a completely changed person - a much, much better person, and a much, much kinder and gentler person, than I was 23 years ago. Am I simply able to look past the violence now, and recognize the quality of this film? Or have I become so numb and inured to violence, which was prejudicing me from recognizing this film's qualities before? Is it good that I can now look through violence as if it doesn't matter? Or is it bad? Am I reverting to my childhood, or am I progressing into old age? I honestly don't know, but I do know that I really, really liked "Pulp Fiction" this time, and perhaps more than any other movie, I'm glad I saw this again, with a completely open mind. And when Vincent excuses himself before the robbery, what is he reading in the can? Think for a moment before I answer ... Think. Re-read this post if you have to, but think ... He's reading Modesty Blaise.