Reviews by Lexi

''This is the way the World ends. This is the way the World ends. This is the way the World ends. Not with a whimper, but with a bang.''

(Adjust that to ends with whimper, no bang...)

Southland Tales is an ensemble piece set in the futuristic landscape of Los Angeles on July 4, 2008...

Dwayne Johnson: Boxer Santaros / Jericho Cane

Southland Tales isn't a movie for most audiences. You won't relate to any characters, and you won't follow or really care about the preposterous plot. It is dark and cynical. Despite it's heavy-handed political story, there is no deep, introspective meaning behind anything whatsoever. This is why many people won't get it, and thus will hate it. It's a dark film with a dash of comedy and a heavy dose of LSD.

Critics have used the word mishmash...and it is. Just like David Lynch and Terry Gilliam, Richard Kelly is clearly conflicted between telling a coherent, compelling story while simultaneously expressing his creative vision. Sometimes you have to choose one or the other, and he chose the latter this time. With disastrous consequences... This movie is a disgrace, and if you are confused or put off by the plot, just grimace or leave the room for a few moments to recover momentarily. The entire story is explained very early on during an awfully amateurish movie pitch scene. After that, all that matters is you survive proceedings.

''Scientists are saying the future is going to be far more futuristic than they originally predicted.''

Director Richard Kelly's life he's leading as a director is more akin and similar to that of George Lucas.
Tons of half-baked ideas, some terrible casting choices, and nobody to whisper and tell him "Make some serious script revisions, or have somebody else write your screenplay for the love of God."
Kelly seems overwhelmingly convinced that he is a genius, as his pretentious storyline shows, only the last three ''chapters" (If you can call them chapters, I call them disjointed and misused) of an apparent six-chapter saga are presented in the film,(Like the first Star Wars movies!) with audiences expected to buy the first three chapters in graphic novel form - essentially forcing people to once again do lots of homework in order to fully get the movie, just as like with Donnie Darko. Boy oh boy, what an ego this man's got. But I'm not falling for it. Despite the heavy-handed use of Biblical references (how sickeningly original) and classic poetry (particularly T.S. Eliot's The Hollow Men, which Kelly paraphrases), the low crass humour and flat stale festering dialogue in this intrepid satire are what betray Kelly's true sensibilities.

Richard Kelly clearly made this movie for himself and for himself only. Sure, the movie cost very little to make, but I think most people would have put the money to more effective means. So self indulgent, so esoteric that the idea revolves in some alternate little world that only exists in Kelly's muddled mind. Where do you start to explain the madness?

''Let's dry our tears and face our fears.''

Clearly, the whole alternate time line stuff did not work. The primary idea of making a neo-futuristic movie is to put it in the future, not start it in the past or present. Its one thing to say that a nuclear war was started in Abilene, Texas, but it is another thing to say it started years before the suggested time line of the movie. Therein lies the first big problem with Southland Tales. There is no Urban Pacification Units, there is no USIdent and there is no weird scientist creating a new energy source to ween us off of oil. Now, if this movie was placed in the near future, like say seven or eight years from now, then the audience is instantly drawn into the fantasy and the impact of the images. Instead, the audience is lost and they know they are watching a poorly delivered movie.

Look, there's Kevin Smith dressed up like an old man! John Larroquette from Night Court having his balls tasered! The Rock just called that slutty Bai Ling a bitch and then she fell on the floor going "Ooh!", that'll show her! This is to put if politely a truly AWFUL film, devoid of any truth, emotion, intelligence or genuine creativity. (Kelly works hard to explain a lot of his story here, too, and guess what - in the end, it's kind of a rip off of the masterful Donnie Darko, with its parallel universes and temporal shifts and such.) The actors, most of whom are the sort who need a lot of direction to be good, recite their lines without feeling or emotion, as lost as the rest of us are. (I assume Johnson, Scott and Gellar signed on for Kelly's hipster credits, the rest of the cast were surely just hungry for any work whatsoever. Especially Justin Timberlake who kills us with badly delivered narration and acting) Even the CG effects are abysmal! The cinematography's horrendous! I could go on for a few lifetimes, but what depresses me most is that there will doubtlessly be new additional fans who will defend all this shabbily-executed nonsense as visionary, and the misguided cult of Richard Kelly will only grow, but seriously only deluded or drug addled people will make sense of this catastrophe.

While antics may appear to be weirdly amusing, it leaves you severed on an emotional level. Donnie Darko worked so well because it drew you in, but Southland seems to deliberately keep you at arm's length lest you miss out on some of Kelly's political messages. For all its mystery, intrigue, and action, it feels a bit soulless, and goes out with a whimper as opposed to the bang it so desires.

''Ladies and gentlemen, the party is over. Have a nice apocalypse.''

''The name's Bond. James Bond.''

In his first mission, James Bond must stop Le Chiffre, a banker to the world's terrorist organizations, from winning a high-stakes poker tournament at Casino Royale in Montenegro.

Daniel Craig: James Bond

''I'm sorry. That last hand... nearly killed me.''

The character of Bond presented in Casino Royale may disappoint followers of the original films, but the news is, this is Fleming's Bond.
An orphan, uncertain of his own identity, a disillusioned romantic trying hard to pretend he's incapable of emotions, a middle class, middle-brow, middle-level management type who just happens to kill people for a living. But he does it extremely well.

The other problem some general viewers may have is the level of violence in the film; having determined to film the novel realistically, director Martin Campbell has decided to ditch the 'B-movie' violence of most of the earlier films, and present us the violence with a hard British neo-noir spark to it. Given the romantic plot twist toward the end, this would be a perfect date movie also. Except that the violence left some of the female viewers in the Cinema I attended clearly scared. That's not necessarily a bad thing, it just is part of the roller-coaster of the film's antics.

''Arrogance and self-awareness seldom go hand in hand.''

Cambell's direction is very good, the writing is crisp and clinical, production values are an all time high; the photography is beyond excellence. Some of the stunt work is truly remarkable and jaw dropping. The acting is rock-solid and believable for these characters. There is plenty of muscle for the action-film fan, and some real brains for the more intellectual viewer to ponder in the ensuing plot contrivances.

Casino Royale is best viewed with minimal reliance on knowledge of the previous installments. In fact, it functions perfectly well as a one-off, a film without a series.
It's The Bourne of Bond pretty much and it takes ideas from that series and uses them for it's own inspirational means.

''Why is it that people who can't take advice always insist on giving it?''

The real ace here is Craig. He doesn't have Connery's raw star quality, but he's easily the best actor to have played the part for ages.
I don't know if the film was shot in sequence but for the only time since Majesty's Secret Service you get a sense of Bond evolving throughout the film as his cockiness becomes confidence and his brutality becomes cold icy efficiency. He starts off unlikeable but human and gradually picks up the Bond traits we know and love, until he becomes more likable but just a little less human. It's an interesting journey and Craig is up to the task in hand. It's not just his delivery, it's also his body language and dedication to the mission. Even his fighting style changes as he adapts.

''I'm sorry I'm not sorry.''

Physically he's the most in your face Bond since Lazenby and the action scenes look brutal and effective with a gritty realism long forgotten or unseen. Even the not very likely free running chase is spectacular but believable because you get the idea that this really is kill or be killed antics. It's got a real feel of danger to it that hasn't been seen in the series in years. Only the torture scene feels like it's holding back but that's probably fear of the censors.

You'll come out of this one not just thinking that Daniel Craig IS James Bond, that no-one has ever played him before. Let's all hope they don't lose their nerve with Bond 22 and bring back the sci-fi crap and unrealistic gadgetry, because this could be a real new habit to emphasis...Roll on Quantum Of Solace!

''I have no armour left. You've stripped it from me. Whatever is left of me - whatever is left of me - whatever I am - I'm yours.''

''I seek a beautiful girl. My life partner, my one coquette, the answer to my love's duet.''

A classic Disney fairytale collides with modern-day New York City in a story about a fairytale princess who is sent to our world by an evil queen. Soon after her arrival, Princess Giselle begins to change her views on life and love after meeting a handsome lawyer. Can a storybook view of romance survive in the real world?

Amy Adams: Giselle

I was following Enchanted for a while appreciating the very original concept and design at it's heart. Disney succeeds and then some.
Enchanted was a refreshing taste of comedy and the happily ever after formula. It did not follow the usual sappy result fortunately.
However, I won't reveal what happened because you need to find out.
Personally very much enjoyed this turn of events, to the typical plot contrivances for this genre. The comedy seemed like it could appeal to all age ranges.

The makers packed in many jokes perfectly into the plot. Not once did the comedy seem crass or even bizarre, almost every joke was funny. Very many parts of the old fairy tales were used in some parts of the plot, such as Snow White, Cinderella, and Sleeping Beauty. However they were used in such a stylistic manner that it all seemed to seamlessly blend together with the rest of the story. The villains were very despicable, and the good guys were very lovable. Overall the plot was very solid and very well written. It carried all the magic and the entertainment factor of all the classics before it.

''Remember, when you go out not to put too much makeup otherwise the boys will get the wrong idea and you know how they are...''

The sound mix was surprisingly good considering the film's Genre. Once again, another engrossing quality of the film. Skywalker Sound really does a good job with every film the do the sound mixing for. There were many ambient effects from all around the theater perfectly placed, which added a sense of depth to what was on screen.

The Visual effects were very well done. There was one sequence that involved a massive dragon roosting at the tip of what I think was the Chrysler Building. The dragon seemed very believable, and the digital rain and lightning in the scene reflected very well off of the dragon's scales. I have no nitpicks here.

''Everybody has problems. Everybody has bad times. Do we sacrifice all the good times because of them?''

Performances are top notch. We get to see some amazing characters.
Amy Adams as Giselle is lovely, charismatic and really uses her voice to blast her character into new levels of masterful likability.
Patrick Dempsey as Robert Philip, Man Of Honor star, Grey's Anatomy heart throb gives us a likable, ordinary every day New York man hero.
James Marsden as Prince Edward, X-Men & Superman Returns star, surprises us with an over the top prince intent on getting his bride to be.
Timothy Spall as Nathaniel, Spall seems to have a penchant for these kind of movies, whether it be Sweeney Todd or Harry Potter, he is a fascinating actor who breathes life into his respective characters.
Susan Sarandon as the Queen Narissa, presents us with a very good nemesis yet I do find she was under used in the movie apart from the use of her voice. But she was a menacing presence.

Along the way of telling this remarkable story, we get to see a very challenging film production featuring two distinct worlds and their accompanying designs, and the interweaving these two worlds. It's occasionally heavy on visual effects and animated sequences as stated before, but the effects are always story-driven and never overly gratuitous.
A surprising enough thing nowadays that it's worth taking note of. Strong film-making skills, with an old-school sensibility, are in play making this a must see for adults and children alike.

''You look... beautiful.''

''Gentlemen may talk of the age of chivalry, but remember the ploughmen, poachers and pickpockets whom they lead. It is with these sad instruments that your great warriors and kings have been doing their murderous work in the world.''

An Irish rogue wins the heart of a rich widow and assumes her dead husband's position in 18th Century aristocracy.

Ryan O'Neal: Barry Lyndon

Barry Lyndon(1975) is sometimes considered a slow and tedious film; it is indeed past three hours in length; but this is due mainly to the fact of the artistic flow and temperament of a film that strays not only to tell a story about a man whom is by no means neither hero nor villain. But it is also one in which is in no great rush; taking the time for every tiny intricacy to sink into the mind and heart of the viewer.
We the audience are left to marvel at the storytelling.



Numerous scenic images in Barry Lyndon are in themselves works of splendid art; rendered with a passion for the landscapes and the man-made structures within them. Stanley Kubrick makes it clear; his appreciation for the era through the use of paintings, costumes and all of the above in perfect harmonic glory.
To be noted: When Barry inquires about a painting, he is told it was painted by a man named "Ludovico Corde". This is a misspelling in the DVD subtitles, probably due to the pronunciation; the artist's name was Ludovico Cardi AKA "il Cigoli" and he actually was a disciple of Alessandro Allori, as it said in the movie. Interestingly, Kubrick's previous film, A Clockwork Orange(1971), prominently features a Ludovico process.
Many of the shots were composed and filmed in order to evoke certain eighteenth century paintings, especially those by Gainsborough.
The myth that came about that all scenes were created using no artificial lighting stems from the very realistic lights during indoor takes, some of them truly did not feature artificial light. This is but one of the many details that so easily conveys a sense of a realistic portray of the era, the 18th century and the time after the seven-year war in the later half of the Lyndon.

The impressive atmosphere and the wonderfully picturesque scenarios along with the fact that the entire plot moves at a calm pace makes this film a very pleasant experience.
The music by the Music Departments Leonard Rosenman, borders on Kubrick genius in which it actually becomes memorable long after Barry Lyndon has finished. Especially the piece of music played throughout, which also features on the credits. Also liked the piece of music where Barry first kisses Lady Lyndon.
Cinematography by John Alcott (photographed) is also illustriously grand in it's beauty, scope and integrity.
Also to be mentioned, Stanley Kubrick called director Ken Russell in the early 1970s to ask him where he had found the locations for his period films. Russell complied and Kubrick used the locations in this movie. Years later Russell said, "I felt quite chuffed." As did fans and admirers of these illustrious places.

Ryan O'Neal as Barry Lyndon does an excellent job of portraying the unlucky man, marvelous how this individual chooses some of the courses that run through his life. Firstly his infatuation for his female cousin's affection which results in him getting sent away to him signing up to the English army. Then a twist of fate of him becoming enlisted in the Prussian Army. All resulting in his eventual meeting of Lady Lyndon, where even more trouble and drama ensues.
Marisa Berenson as Lady Lyndon really flourishes her part with beauty and elegance and later on with emotionally charged desperation as the film progresses and her husband's wild ways become apparent.

Barry Lyndon may be long, but on DVD it shines perfectly. Afterall that is what the intermission is designed for; To give us a much needed break. Kubrick knows if he's going to do a theatrical film of William Makepeace Thackeray's novel he's going to need a substantial amount of material. Material which is crammed full of flavor, of passionate drama and of period perfection.
Barry Lyndon is another grand accomplishment from the late Kubrick. A masterpiece and an interesting study and also one I never get tired of watching.

''I gotta hold on to my angst. I preserve it because I need it. It keeps me sharp, on the edge, where I gotta be.''

A Los Angeles crime saga, "Heat" focuses on the lives of two men on opposite sides of the law - one a detective; the other a thief.

Al Pacino: Lt. Vincent Hanna

Robert De Niro: Neil McCauley

Heat(1995): Classic Michael Mann cat and mouse drama using the heart of a living, breathing Los Angeles; Gritty, realistic and pure professionalism. We have the two parallel yet relating characters; A professional thief and an equally determined cop.
Pacino as the cop with more snazz than any other man, every time this guy opens his mouth with his one liners or bellows his stuff you gotta marvel and watch and Robert De Niro as the professional score taker results in being a no nonsense, intelligent, stern expert whom is the perfect accompaniment to Pacino.Godfather 2 was their first film collaboration together but they never had screen time featured together due to Robert De Niro being in past flashbacks. Heat fulfills the wish in a thrilling, fresh new way.



The key to Heat being what it is again are the two players in this momentous game and this is the legendary and moving Al Pacino and Robert De Niro, and of course the thrilling direction of Micheal Mann.
DeNiro is Neil McCauley, a life time thief who is brilliant at it and treats it like a major operation that it is complete with his tight knit crew. McCauley is cocky in some ways, egotistical and yet subtle and smooth. DeNiro is a sight to behold and does a great job. However between the two of them I have to give it up for the amazing Al Pacino whom is mind blowingly addictive to watch as Lt. Vincent Hanna whose passion for the job is rivaled by no other. Pacino's personal life is explored at length as we see how much he lives for this job and to stop McCauley like it's a personal vendetta for him. He's passionate and loud as Pacino always is but entrances you to his scenes. The rest of the cast is just packed with stars of various talent and Hollywood status including Val Kilmer, Jon Voight, Tom Sizemore, Amy Brenneman(magnetic chemistry opposite DeNiro), Ashley Judd, Dennis Haysbert, William Fichtner, Natalie Portman, and Mykelti Williamson (always makes a good cop.) However, this ensemble cast was put together to support DeNiro and Pacino and they all pull it off effortlessly.
A sample of the witty dialogue will have you in a panache of amusement, again Al Pacino recieves the wittiest lines by a mile:
Alan Marciano: Why'd I get mixed up with that bitch?
Vincent Hanna: Cause she's got a great ass... and you got your head all the way up it! Ferocious, aren't I? When I think of asses, a woman's ass, something comes out of me.


For the cinematography, I must say the man behind the magic, Dante Spinotti has succeeded in pulling off a tremendous effort out of his hat of wonders. The city of LA has never looked this wide or gritty until this film was released. The night-time scenes, the helicopter flybys, and the moving car shots of the film are all stunning to watch, as it majestically captures a sparkling portrait of Los Angeles set against an urban landscape.
To accompany the cinematography, the music by Elliot Goldenthal is simply unforgettable. Especially the arrangements with the Kronos Quartet. It really adds to the entire atmosphere and theme of the film's storytelling and thrilling conjunctions.

''I do what I do best, I take scores. You do what you do best, try to stop guys like me.''

Director/writer Michael Mann gives us his masterpiece. The direction is tightly executed, the story fantastically involving, evolving and original, and the screenplay is well-written. The action scenes were extremely well-handled, kinetic, heart pounding, and most important of all, realistic. This is what makes it stand out from the rest of the other crime films - they tend to put in moments of Deux Ex Machina, such as the police knowing every trick up the crooks' sleeve - but not this film. It's good, because Mann is dedicated to show both sides of the cop vs. criminal story, and he succeeds with dazzling results. This film and including Collateral, I can tell he is a skilled and dedicated filmmaker when it comes to crime thrillers. By the time the film ends you won't even know how three hours passed. It engages you on every level.

The final scene is so powerful with the two men tightly gripping each others hands, respecting each other, two collosus Gods, two lions of men concluding an epic chase, one that shows them as equals in a journey bigger than themselves.

Vincent Hanna: You know, we are sitting here, you and I, like a couple of regular fellas. You do what you do, and I do what I gotta do. And now that we've been face to face, if I'm there and I gotta put you away, I won't like it. But I tell you, if it's between you and some poor bastard whose wife you're gonna turn into a widow, brother, you are going down.
Neil McCauley: There is a flip side to that coin. What if you do got me boxed in and I gotta put you down? Cause no matter what, you will not get in my way. We've been face to face, yeah. But I will not hesitate. Not for a second.

''The greatest trick the devil ever pulled was convincing the world he did not exist. And like that... he is gone.''

A boat has been destroyed, criminals are dead, and the key to this mystery lies with the only survivor and his twisted, convoluted story beginning with five career crooks in a seemingly random police lineup.

Gabriel Byrne:Dean Keaton

The Usual Suspects is simply a fascinating piece of film-making and story telling from director Bryan Singer. Because of the trick ending conclusion, it is debatable as to what is truth and what is fiction. If you watch it objectively, it is just a damn entertaining, complex, a well structured film noir piece with a breath taking climax. If you take the subjective route, then what you've got is perhaps the most puzzling film ever made, one that even with multiple repeated viewings will make you doubt your own conclusions.



The Usual Suspects begins with the supposed protagonist, Dean Keaton (superbly played by Gabriel Byrne), being assassinated by a mysterious unknown figure, named Keyser. I think it's safe to say that this opening scene is objectively told, it really happened. Then Keyser burns the ship that Keaton and a bunch of other men (who we find out about later) are on. In the immediate aftermath of the incident, the cops and FBI question the sole survivor of this massacre, Verbal Kint (played by Best Supporting Actor Oscar winner Kevin Spacey). Verbal is the only one who can tell what happened. He is our link to the flashbacks and story of The Usual Suspects.

''One cannot be betrayed if one has no people.''

Leading the investigation is US Customs Agent Dave Kujon (effectively played by Chazz Palmentieri). Kujon grills Kint relentlessly in order to piece together all the events that led up to the massacre. Kint begins with the events weeks before when Kujon and his fellow agents had arrested Keaton and the other 'usual' suspects Kint, Michael McManus (Stephen Baldwin), Fred Fenster (Benicio del Toro), and Todd Hockney (Kevin Pollak). These 5 men were suspected of a hijacking and were brought in for questioning.

As Kint continues and the film progresses, we find that the 5 criminals were manipulated into the situation by Keyser Soze, a Turkish uber-gangster/drug dealer who they all think is really a myth until his #1 lackey Kobyashi (played with cold efficiency by Pete Posthlewaite) pays them a visit and tells them that indeed Soze is behind all this. Soze wants them to to do job for him by killing his Hungarian competitors, who are making a huge drug deal with some Argentinians on a ship docked in LA. This leads us to the climax and back to the events that started the film.

The Usual Suspects, whatever ones feelings about the surprise at the end, is one brilliant example of modern day film noir. Nobody is innocent, yet every major character is multi-dimensional and draws you into the conflict. There is quite a bit of action and violence, but it is tight, well-placed, and crisply realistic. The beauty of the film is that you can watch it in at least two different ventures, objectively to be entertained and secondly to subjectively attempt to complete the puzzle and solve the goings on! The acting is uniformly superb, the Oscar-winning screenplay crackles, and never becomes tedious or boring. The Usual Suspects is simply Bryan Singers best film to date and among the best films of the decade!

''What the cops never figured out, and what I know now, was that these men would never break, never lie down, never bend over for anybody. Anybody.''

''Charlie Chaplin once entered a Charlie Chaplin look-alike contest in Monte Carlo and came in third; that's a story.''

A case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.

Josh Hartnett: Slevin Kelevra

Like many stories revolving around killing and revenge, Lucky Number Slevin likes to have everything revealed the further and deeper you descend into it. It's a applaud-able effort in screen writing, plot twists and a puzzle of revelations revealed.



Director Paul McGuigan succeeds in carving out this suspenseful and table turning crime revenger caper. I was expecting a repeat of Kiss Kiss Bang Bang, stylish, slick, fun and instead got something completely different, but freshly original and crisp in its execution. The gangster style feels somewhat like Snatch with it's multitude of characters, but is coated with a lot of US styled humour in its writing and performances, making this a bold effort.

''I bet it was that mouth that got you that nose.''

The plot is a well-sketched template, but it is not really apparent until the end of the film, when pieces of the puzzle start falling into place The Usual Suspects style. The only thing you need to know is that unlucky Slevin loses his job and apartment, gets mugged and finds his girlfriend in bed with another man all on the same day. To top it off, he also gets entangled in a mafia-war between two prominent clans respectively headed by the Rabbi (Kingsley) and The Boss (Freeman).

''Ok, I'm under the impression that you're under the impression that I owe you 96,000 dollars.''

The two latter heavyweight actors chip in enormously in Lucky Number Slevin, and when they are finally faced together in a long-drawn out shot, and their different screen presences are juxtaposed, it is a scene so extremely powerful and engrossing that you want to obliterate Josh Hartnett just for getting in the way. Casting him as the lead character was overall just a bad move by McGuigan because he is too random in quality for an otherwise intelligent film.
The core of Slevin, however, is it's superb script. Funny, witty and as sharp as a Samurai Sword. Every single word and phrase is strategically placed for maximum assault on us the viewers, whether that be with its dry wit or sardonic mutterings throughout, or even the moments in which it harks back to archetypes and conventions of crime scenarios from previous attempts. The script and its dialogue provide nothing particularly groundbreaking, but it does an exceptional job of developing characters, tear away any feeling of apathy one may initially have toward the primary protagonists, creating the plot's undercurrents and providing the dark comedic aspect that the movie is built upon.

Lucky Number Slevin looked good and sounded awesome and viewing Ben Kingsley, Morgan Freeman, Lucy Liu and Bruce Willis fire up proceedings is always going be entertaining. To conclude this is a fun black comedy film and if you're looking to escape reality for a short period there are worse things available. If you're looking for an intelligent twister and well written conceived mob film there are better ones than this movie.

''I was thinking that if you're still alive when I get back from work tonight... maybe we could go out to dinner or something?''

''Ladies, we're gonna have some fun.''

Two full length feature horror movies written by Quentin Tarantino & Robert Rodriguez put together as a two film feature. Including fake movie trailers in between both movies.

Rose McGowan: Cherry Darling (Planet Terror)

Kurt Russel: Stuntman Mike (Death Proof)

Absolutely a blast from end to finish. Such a brilliant soundtrack and old style feel to it as intended by QT and RR.
The joint film revolves around one plot about some hot looking young girls and a mysterious guy who seems to stalk said girls. We find out hes Stuntman Mike (magnificently played by Kurt Russell). The other a zombie infested virus movie which has shoot outs and over the top gore galore.

What i like about this double feature is all Quentin's and Robert's intricate attention to detail. How all the dialogue these people deliver comes across and they makes it interesting to view as if your along for the ride.

''There are few things fetching as a bruised ego on a beautiful angel.''

What theDeath Proof contribution lacks in gore( there is some great gore though in places) it makes up for with complex character detail layering and the dialogue. This is an intelligent film that could be a reality, and the superior half of the Grindhouse feature.

In fact all QT films have wonderful convos, character interaction and stories, this latest offering is deliciously laden too. Love all the intricate small attentions to details too.

Kurt Russell as Stuntman Mike is the perfect weird loner guy with a sadistic penchant for stalking hot young ladies.
Rose McGowan has a part in this too, smaller than her lead part in Planet Terror, but she plays it well although looking weird with Blonde hair.

''Well, in Hollywood, anyone fool enough to throw themselves down a flight of stairs can usually find someone to pay them for it. But really, I got into the business the way most people get into the stunt business.''

Vanessa Ferlito's lap-dance was awesome yet i thought she had an unusual face for sure. Very seductive. Loved the dark clever conversations, her character Arlene has with Mike on the porch of the bar.
Sydney Tamiia Poitier as Jungle Julia was a typical bitchy girl but I thought it was sweet her text messaging. Another example of little details that I love.
Rosario Dawson was awesome as Abernathy as usual although the character she played did have some times where i thought she was weak willed or being bossed around by her buddies. She had some great lines though.
Zoe Bell as Zoe Bell and Tracie Thoms as Kim were stand out characters yet they seemed abit mean and manly in some parts with their gruff hard tones. Liked there witty comments.
Mary Elizabeth Winstead as Lee was in my mind stunning and lovely as usual but she was completely sidelined in this, that was bad. Felt like she was just put there for looking at for male audiences, could of included her in the finale chase or had a story to show what she does while their away.

''The woods are lovely, dark, and deep.And I've got promises to keep.And miles to go before I sleep.Did you hear that butterfly?Miles to go before you sleep.''

I loved all the references too in Death Proof, QT's love of yellow and black stripes, of feet and classy retro-y music. The whistle ringtone that Abernathy has. The movie sign-post Mike crashes into. Also his lusty appreciation of young ladies and killing them with his car! And what amazing car chases and action in Death Proof!

Put this film with Planet Terror as it was intended, and they totally compliment each other. Planet Terror with its OTT action, gore and horror/fantasy basis then Death Proof with its intelligent dialogue, thrilling chases and closeness to being reality.

''If you're going to hire Machete to kill the bad guy, you'd better make damn sure the bad guy isn't you!''

I must mention the Machete(which should be a film!) trailer and Grindhouse obviously feels like it was made for the cinema. The whole style and old cracking lines feels like you're watching a vintage, a dirty, sleazy, personified old school movie.

Rose McGowan was delicious and excellent as the main heroine of Planet Terror.
Freddy Rodriguez was a hard man although i thought it was a stupid outcome. Short too height wise.
Naveen Andrews, seen him in the series Lost, and English Patient and still when i see him speaking in his normal English accent it takes me time to adjust. He was excellent. Shocking us with his obsessions and ball collecting. ''OH SweetHeart I just want your balls!''.

Marley Shelton and Fergie Lessie couple, was I hearing things?! Seeing things?????
More Bruce Willis needed.
More Tarantino needed(He was f**ing awesome in his part made me laugh what happens!).

The gore was amazingly cheesy in this, splatter chopping, things blowing up! Limbs being ripped off! Semi-naked women! Crazy splattery shootouts, Helicopter limb chopping. Gun Leg action!

''I've seen me a lot of weird shit in my day, but I ain't never seen a one-legged stripper. I seen me a stripper with one breast. And I seen me a stripper with twelve toes. I've even seen me a stripper with no brains at all, but I ain't never seen a one-legged stripper. And I've been to Morocco.''

The music and the sound effects are immense in this film, they simply rock BIG TIME! Very atmospheric.
The ending reminded me of Dusk Til Dawn, good old Robert Rodriguez! I also love his company name too, RIP Productions, RIP AKA Rodriguez International Pictures.
Overall we have Planet Terror with its OTT action and gore and Death Proof with its intelligent dialogue and thrilling chases.

''Hey, Pam, remember when I said this car was death proof? Well, that wasn't a lie. This car is a hundred percent death proof. Only to get the benefit of it, honey, you REALLY need to be sitting in my seat.''

''Who are you?''

''Your worst nightmare!''


Rambo's Vietnam commanding officer Colonel Trautman is held hostage in Afghanistan, and its up to Rambo to rescue him.

Sylvester Stallone: Rambo

Richard Crenna: Trautman

Well Rambo 3 the third in the original trilogy, not including the latest one, is a classic example of what happens when a formula starts to flag and lose it's spark.

The premise being his friend Colonel Trautman asks for his help, in typical Rambo style he refuses and then he gets kidnapped firing Rambo into action to save his friend from psychopathic Communist Soviets.

He makes allies with the Afghans who are being slaughtered by the Russians. Hang on don't these people become terrorists I hear everyone thinking.
It's ok the movie will get better, I'm nodding off through the first half. Then this Russian dude who questions the Colonel comes on and in his room they have crammed as many stereotypical Russian things as they can, ranging from a pic of Lenin, to the chess set and he's even smoking a ciggy like a typical Rusky. I mean come off it.
Not to mention all this righteous bullshit with Rambo and all this Buddhist philosophies then we see him having a scrap in some over crowded scene. What a joke!

The Russian Chopper, rain of death machine that appears throughout Rambo 3 reminded me of Metal Gear Solid and I can see also Hideo must have drawn some influence from this Rambo too as well as that Escape from New York film. The lines are typical cheese which are so bad it makes you laugh which offers a paradoxical watching element, if that makes sense.

Richard Crenna gets to actually fight for the first time I've seen in a Rambo movie, plus that guy from Robocop shows up near the start with his slappy forehead Kurtwood Smith.
Sylvestor Stallone could mumble his way out of a paper bag. His acting isn't the highlight of this, it's got to be the action. Plus that black vest really didn't look right to me. All or nothing, his muscles did look abit dodgy in areas. Definitely a let down after the two magnificent predecessors.

I really do feel Rambo 3 is the first movie that I've seen where the Afghan's are glorified in an American film. Granted they may have trouble but when you have people like the Taliban or Al-Qaeda it makes you wonder why an American Hero like Rambo would be helping them. I'm going to go with the time the film was made and that they aren't all bad in their defense.

Love the killer lines the colonel and Rambo have when faced with the Russian forces in the desert:
Zaysen:"Drop your weapons! Now! You have no chance of escape! Come forward! I wish to take you back alive! This is your last warning! The choice is yours!"
Colonel Trautman: "What do you say John?"
Rambo: [loading his gun] "Fuck 'em!"

Ultimately Rambo 3 ends up being incredibly boring for its first half then it goes into loads of action but the violence I felt was diluted and not as gory as the first two. As a whole it was a disappointment, that has a bland ending that didn't quite bowl me over like the first two were able too.

Murdock: "Colonel are you sure Rambo's still in balance with the war? We can't afford having him involved in this mission and than crack in the pressure of that hell."
Trautman: "Pressure? Let me just say that Rambo is the best combat vet I've ever seen. A pure fighting machine with only a desire - to win a war that someone else lost. And if winning means he has to die - he'll die. No fear, no regrets. And one more thing, what you choose to call hell, he calls home."


Sylvester Stallone: John J. Rambo

Richard Crenna: Col. Samuel Trautman

Rambo is in prison but fate it seems draws him back into combat, into war... His friend the colonel has a new mission back in Vietnam to gather intelligence and rescue POW s... However he is betrayed by his own soldiers and left to do the job himself... He becomes a one man army yet again and nothing can stop him...



Let's just say this is another all out action chapter as with it's predecessor, this Part Two replicates the added punch and adrenaline.

From Rambo furiously firing arrows at enemies to a helicopter all out frenzied attack against a whole army is phenomenal. The music again isn't quite as good as the first but it's still got that resonance to it.

The body count is through the roof, the betrayals many, even a fave scene of mine of a man being blown apart by an explosive arrow really gets the blood pumping.

A romance interest, (some random lady who's wrapped up in the mission), with Rambo is cut short sadly but gives him an excuse to go ape shit which makes up for it!

Once you get to the finish you will be hungry for the third installment...