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The Hateful Eight - New/Second Trailer!


RussTCB

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He peaked with Pulp Fiction and Jackie Brown and since then it has all been down hill. His films are always aesthetically good and wear their cinematic lineage well but they lack something - it is difficult to pin point. I personally do not feel there is a script often present. I just recently watched Death Proof and I thought it was terrible. The majority of this film consists of multiple skanks sitting around in various locations (i.e. car, pub, cafe - in that order) talking about ''blowing off their boyfriends'' and ''pushing each other down holes''. It was an excruciatingly boring two hours. I have actually seen Django but cannot remember a single thing about it! The best of his post '90s work is probably Inglorious Bastards, mostly on account of the cinema storyline.

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The thing with Death Proof is, it was his Grindhouse film. It's his take on a campy B-movie, it's supposed to suck, so to speak.

That has nothing to do with it. The term 'Grindhouse' includes many of my favourite genre of cinema such as Kung Fu and Blaxploitation. I was basically raised on these films - not Star Wars or Indiana Jones like most people. The reason Death Proof was poor was not because he was paying homage to that particular form of cinema, but that the film was filled with excruciatingly boring dialogue. The actual premise, a pastiche on the 1970's car film essentially (e.g. Vanishing Point), has some promise and indeed the end car chase is well executed and exciting - but Jesus, it was hard work getting there, wasn't it?

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Reservoir Dogs and Jackie Brown are great movies, but are they great and FUN movies like Kill Bill and Django Unchained? I don't think so.

Why does a movie being fun necessarily count for anything? I mean its great if a film can be but you are speaking about it like an essential component or something, like Schindlers List is lacking in some way because there was nothing fun about it.

Reservoir Dogs doesnt have fun? There's actually a fair bit of humour in it too, the Madonna thing, the tip thing, the little exhange between Chris Penn and Michael Madsen that ends in them wrestling on the floor, Tim Roths funny story about the weed deal, the whole 'undercover cops got to be Marlon Brando' thing, loads of the dialogue in it is hilairious, i think its very fun, it was sort of sold on that when it came out, the cool fun hip film. Its just subtle and pulls its fun off without ending up looking goofy like some of his later stuff, perfectly balanced i thought, easily his best film.' Also that conversation about the guy dating the girl who looked like Christy Love that glued his dick to his stomach.

'was he all pissed off?' 'how would you feel if every time you went to take a piss you had to do a fuckin' handstand?' :lol:

'for the last 15 minutes now you have been droning on about names....toby...toby? toby...toby wong, toby wong, toby wong, toby chung, fuckin' charlie chan! i got madonna big dick comin' outta my left ear and toby the jap i dunno what comin' out of my right!'

'ain't that a sad sight daddy, man goes into prison a white man, comes out talkin' like a fuckin' n!gger, y'know what it is, it's all that black semen thats been pumped up your ass, it's backed out of your brain now it's comin' out your fuckin' mouth!'

:lol:

It also has a very light, very cool jaunty sort of soundtrack that adds to it...and Steve Wright doing the radio bits, it's amazingly humourous and fun...but it's also dark and grim, it's the contrast of the two things that makes it work so well.

Edited by Len B'stard
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The thing with Death Proof is, it was his Grindhouse film. It's his take on a campy B-movie, it's supposed to suck, so to speak.

He peaked with Pulp Fiction and Jackie Brown and since then it has all been down hill. His films are always aesthetically good and wear their cinematic lineage well but they lack something - it is difficult to pin point. I personally do not feel there is a script often present. I just recently watched Death Proof and I thought it was terrible. The majority of this film consists of multiple skanks sitting around in various locations (i.e. car, pub, cafe - in that order) talking about ''blowing off their boyfriends'' and ''pushing each other down holes''. It was an excruciatingly boring two hours. I have actually seen Django but cannot remember a single thing about it! The best of his post '90s work is probably Inglorious Bastards, mostly on account of the cinema storyline.

Because he makes movies about movies which makes them ultimately insubstantial. Especially if you've seen the movies he's referring to in his work, it's like when you're a kid and you first try writing a song if you're in a band or writing a screenplay if you're a movie kid, they just end up being like what you've watched/listened to. Now you can be talented and do a decent facsimillie of something thats good, like in the way you had a million Dylanesque singer after Bob Dylan...but none of them were Dylan.

Not saying they can't be very very enjoyable cuz they can...but after a while it becomes a bit samey. You kinda know what you're going to get, which is true of lots of directors I suppose but the vast majority of them don't masquerade or aren't masqueraded as the greatest thing in cinema since sliced bread.

Edited by Len B'stard
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