Dawn of the Dead (2004)

NIGHT 29

     "It's nice to see that you've all bonded through this disaster."

Dawn of the Dead (2004) is a remake of Dawn of the Dead (1978), written by James Gunn and the feature directorial debut of Zack Snyder.

Dawn of the Dead has the same premise and title of the original, but the similarities end after that. A group of survivors hole up in a shopping mall and discover no where is really safe.

[This review refers to the unrated director's cut]

One thing this film does well is its suspense. There's plenty of sequences where characters have to avoid or dodge this film's highly a acrobatic undead. I'll admit that this adds tension, but it's almost too easy isn't it? You had to work in older zombie films to get your characters in a tight spot with enough zombies so that it was actually hard for them. But admittedly, adding the mall security guy at the beginning and making the zombies the main antagonistic threat of the film cures the slow and drawn out problems that the original had.

I like the camerawork in this film. Lots of times I don't feel there was enough meaning or thought as to why they moved the camera that way. But creative shots and playful camerawork at least adds up into something interesting to watch.

And like Romero's Dead films, this film has some really interesting characters. brought to life by really good actors. Unfortunately the film doesn't really take advantage of these good characters. I really liked Ving Rhames portrayal of the police officer who unfortunately doesn't really do anything in this film. And I enjoy our leads played by Sarah Polley and Jake Weber who for some reason fall in love by the end of the film (because they're both white maybe?). And I like the addition of scenes with the gun shop owner, Andy to this story.

The worst thing about this film is its logic! First and foremost: running zombies. There's no reason for zombies to run when you think about it, and convienetly the film doesn't give you a reason either. And these zombies don't just run, they full-on sprint, there is multiple cases in this film where zombies run far faster then they ever could have when they were alive! They also seem like they're very smart and show problem solving ability (again for no reason), there's even one point where one climbs on pipes overhead in a parking garage and jumps onto someone to attack. What the heck? Okay zombies ran in Return of the Living Dead (1985) but it was hilarious in that film, done for comedy (I loved watching a cop car pull up to the abandoned graveyard only to be suddenly mobbed by a huge bunch of zombies). In this film running zombies is done for tension and suspense and without any explanation for it, it just makes me confused. This the biggest logic problem of the film but not the only one. There's countless things in this movie that when you think about them, it really doesn't make sense. Like mall security has a holding cell, really? How did the first bunch of zombies (namely the janitor) get into the mall if it was completely locked up at the beginning of the movie? And on top of this there's lots of times where people make stupid horror movie mistakes like going to save a dog that the zombies weren't going after... or even worse going after the girl that was dumb enough to do that. Yay, mankind! This all adds up to the film pretty much being an enjoyable baseline action movie but if you actually think about anything that is happening the movie starts to fall apart. This is one film where the zombies really do want you brains... to be turned off!

The other thing this film does poorly is mess things up the previous film did well. The empathy for zombies that the original did so well is completely gone here. And the whole point of staying in the  mall in the original wasn't just provide a place where our characters could survive, it was to make some political commentary on our lives. Here the mall just becomes a place devoid of meaning. This pretty much tells me someone watched the original and didn't understand what was good about it at all.

The one thing I really love about this film is the title sequence. The clips of real life massacres and news footage of riots combined with quick zombie shots all with Johnny Cash's "When the Man Comes Around" playing over it, works so well. It's a really amazing idea and not as horribly 'on the nose' as playing Disturbed's "Get Down with the Sickness."

Dawn of the Dead (2004) is a fine action movie if you don't think about anything in it too hard or the fact that it's a remake of a classic zombie film. Ugh.

3/5 Stars.

Happy watching!




The 31 Nights of Macabre Movies are winding down now, we're done with the zombie flicks for now and gonna move on to the horror/comedy classic Abbot and Costello Meet Frankenstein (1948).

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King Boxer (1972)

Intro
While pouring back through all the Tarantino films recently I realized a couple things:
1) There's not that many of them. I mean he's only one guy and he pretty much only works off of his own material that he wrote... which takes time, and thus this is very understandable.
2) His films make reference other movies constantly. Now call it what you want homage, reference or just plain theft but I'm thinking that a lot of people don't catch the majority of these references to other films because frankly, we don't have the film same exposure as a young Tarantino did going to the grindhouse theater constantly in his youth or working in a video rental store. However, hypothetically with the vastness of the internet and Amazon, Netflix etc. these films should be easier to get a hold of today, if you know what you're looking for that is.

So I figured there's probably more people out there, like me, who crave more Tarantino constantly and I could showcase some films that I'd consider essential viewing for Tarantino fans. And thus the 10 must-see films for Tarantino fans was born. Now let me warn you this is in no way a comprehensive list and there's no particular order to these either. There's probably hundreds of films that Tarantino references in his own films, and I found enough films I could write about to probably do this series again but that will have to wait until next time there's another big Tarantino release.

DAY 5: King Boxer [aka Five Fingers of Death] (1972)

If you sit down to watch King Boxer the very first thing you will notice is the "Ironside" theme that while it didn't originate in this film is used in a very similar manner to the way Quentin Tarantino uses it it Kill Bill: Volume 1 (2003). A major part of this film involves the "Iron Fist" technique that the hero learns from an aging master and uses it to defeat his betrayers very similar to the "Five-point-exploding-heart" technique the Bride uses in Kill Bill: Volume 2 (2004). Another Kill Bill: Volume 2 moment is the eye-plucking technique which is used multiple times in this film. You also may also notice some of the very fast zooms from this film in Kill Bill and most recently in Django Unchained (2012). After watching this film its plain to see why Tarantino continues to put this film in his top 10 films of all time and King Boxer has the distinction of being one of only a handful of films that Quentin Tarantino has recorded a feature-length commentary for which is avalible on the Dragon Dynasty Special Edition DVD .

“But you must be cautious... the Iron Fist is deadly and must only be used for righteous deeds. It must not be used in private duels.”

King Boxer: Number One Fist in the World [天下第一拳] (1972) known as Five Fingers of Death (in the U.S.), has the distinction of being the very first kung fu film to be released in America. An aging master fears he can no longer further his star pupil Chi-Hao's training and sends him to train under the Shen school. He proves to be a quick learner and very soon becomes one of the best of Shen's pupils. However not everyone is happy about Chi-Hao's progress. This is a film about betrayal and trying to be the best.

[This review is of the original uncut Chinese version]

The fight sequences in this film are all around good. I appreciate that each of the fight sequences don't drag on longer than necessary and I enjoyed how they are grounded in realism but the film isn't afraid to push the fights slightly into the fantastical with things like guys jumping 12 feet into the air. Also the violence of the fighting really escalates beautifully.

The score of this film (though I'm not exactly sure how much was original for this film) is really great the way it's used. It really adds a lot to the power and drama of the characters and story.

There is some odd pacing in this film, this is especially noticeable in the first half of the film where they seem to rush trough training sequences (there's even a continuity error, so we're not sure exactly how long Chi-Hao has been at the new school). Lots of sequences cut very abruptly at the end of action not allowing the scene to play out to a natural end and "breathe."

Also some of the acting is less than good, but by the second half of the film this wasn't as bothersome to me.

The cinematography in this film is really surprisingly fantastic. I was really surprised at how great the camerawork is; It really seems like every shot has a lot of real thought put into it where is the best place to put the camera. And there's a lot of really clever and creative things they came up with in this film that I think even someone who doesn't know much about cinematography would notice how unique some of the cool things they do are.

Easily the greatest thing about this film is its story. It starts off really simple and even pretty similar to other kung fu or martial arts films you've seen before, but as it goes on it has some really interesting twists and turns that keep you constantly guessing at how the story is going to play out for these characters. I like how this film has a lot of direct allusions to, and themes from films like Shane (1953) and other American westerns.

And this is a film that like many other kung fu films has tons of characters, but UNLIKE most other kung fu films this film handles all the characters beautifully! I love how almost every single character that is introduced in this film is addressed, gets nicely wrapped up and has a payoff by the third act.

King Boxer (1972) is a pretty typical and yet solid kung fu film but it stands out because of its amazing story and stylish direction. 4.5/5 Stars.

Happy watching!





This film is part of my month-long Tribute to Tarantino in honor of his latest film Django Unchained (2012) and his 20-year career. If you've missed any of my reviews so far, be sure to check out his filmography and click on any film you've missed.

The 10 must-see films for Tarantino fans countdown continues tomorrow, so be sure to check back!



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Death Proof (2007)

"You redneck, lunatic bastard!"

Death Proof is yet another tribute to grindhouse cinema from Quentin Tarantino this one however, also is a tribute to the car movies and TV shows from the 70s (you know, the kind that are pretty much completely non-existent these days). This film was released as part of Grindhouse (2007) in US theaters following Robert Rodriguez's zombie film Planet Terror.

Let me start this review by stating right off that there's going to be spoilers with this one, I can't really talk about the film without revealing things that happen that are supposed to be somewhat of a surprise so once again if you want the full first time experience of Death Proof stop reading now, and go rent the film. Death Proof is about Stuntman Mike a sadistic former stuntman who gets his jollies by killing women in cars at fast speeds.

[This review will focus on the 114 minute, theatrical cut of the film]

Turns out Eli Roth makes a very convincing creeper. Hmmm.

One major thing that doesn't work in this film for me is the structure. I applaud Tarantino for trying to make different films and always push the boundaries on how a story or a film can be told, but there's a good reason why everyone uses the three-act structure... because it works. This film is a two-act story (you know like a play?) and I don't think this is inherently the only problem with the film, I think that this may have worked if we didn't spend so much time trying to get to know these characters and then kill them all off at the halfway point. Yes the only character who carries over in the two parts is Stuntman Mike, the antagonist. While this is interesting and a nice thing to try, I just don't think it's successful. I really think he's trying to do too much with it: not only is he trying to split the film right down the middle between a "successful kill" for Stuntman Mike and an {everything goes wrong kill" for Stuntman Mike, but he's also trying to surprise you with the fact that he kills the protagonists at the halfway point. While yes, this worked in Hitchcock's Psycho (1960), I'm sorry you did not emulate it well.

The other major problem with this film is the transparency of the writing. Now don't get me wrong, I'm a big fan of Tarantino films, and an even bigger fan of his writing and dialogue. This film however, did not do it for me. This film found the line of how much "Tarantino talk" I can really take, because frankly the first half is actually just pretty damn boring. The majority of the first half is four girls talking about (as far as the story is concerned) pointless stuff. AND they all sound like Tarantino [something I had had a problem with the way Alabama spoke in True Romance (1993)]. I just don't think that Tarantino must have many female friends because I don't know any females who talk like the girls in this film. The part where they're talking about how far one of them has gone with her boyfriend is especially cringe worthy, and awkwardly written and there's this extra long take of this film is circling a table with them all talking, that honestly I could have completely done without. It drags on for WAY too long, and there is next to nothing important gained from this conversation but yet it stayed in the film for the director's flair. This is a classic example of a director not knowing how to cut his own fat.

Oh and atrocious Quentin Tarantino cameo alert! Dude seriously, stop giving yourself speaking roles.

One good thing about this film is the Stuntman Mike character played by Kurt Russell. I had no idea that Kurt Russell could be SO creepy. His character is very well reasoned, he's interesting and also somewhat strangely funny. My only problem with Stuntman Mike is that Kurt Russell plays it almost exactly like Bill from Kill Bill (2004). I don't know if this is just the way it's written or if this was Tarantino's direction, but I can't listen to Stuntman Mike and not hear Bill, I'm gonna chalk this one up to the transparency of the writing again.

And basically the only reason I'd recommend people see this film is the car chase at the end. This is without a doubt the greatest car chase in the last 30 years, if not, one of the greatest ever filmed! This was filmed at full speed, without constantly cutting between different cameras, with real stunts and it really feels like a breath of fresh air compared to how action and car chases are filmed these days.

Death Proof (2007) is easily the low point of Quentin Tarantino's career, so much that I'd say it's pretty much completely un-noteworthy with the exception of the amazing car chase hiding out at the end of the film. 2/5 Stars.

Happy watching!





Want more Tarantino goodness? Check back all month for my Tribute to Tarantino in honor of his latest film Django Unchained (2012).

Go back to Tarantino's first film with Reservoir Dogs (1992), check out the first script he wrote (but didn't direct) True Romance (1993), The smash hit that really put him on the map Pulp Fiction (1994), another film written by him but in the hands of another director From Dusk till Dawn (1996), his blaxploitation-influenced crime film Jackie Brown (1997) or the revenge epic split between two volumes Kill Bill: Volume 1 (2003)and Kill Bill: Volume 2 (2004). I got films planned all month, so be sure to check back!



Like this blog? You can support it by buying this film (and 8 other Tarantino hits from his 20 year career) in this new set (now on Blu-ray) through these links:

Kill Bill: Volume 2 (2004)

"That woman deserves her revenge... and we deserve to die."

Kill Bill is Quentin Tarantino’s first [well second if you count From Dusk till Dawn (1996)] tribute to the films of a “grindhouse” cinema. This film is a revenge story that’s jam-packed full of references to different films from all across the scope of cinema: different genres, cultures and styles. Kill Bill: Volume 2 (2004) continues the story of the Bride on her quest to, well, kill... Bill. Where Volume 1 is questions, Volume 2 is fortunately answers.

If you remember (all the way back to yesterday) my biggest problem with Kill Bill: Volume 1 (2003) is that its story doesn't work on its own as a film. Well Volume 2 totally fixed that. This film starts by introducing a frame story of the Bride on her final drive to Bill's home. This changes the story so that the bride is narrating and explaining everything she's been through as she's on her way to her anticipated final destination. This makes me question why we didn't start with a frame in the beginning of the first film, then we could have cut back to it for a cliffhanger at the ending, but who am I to tell Tarantino how to order his films right? Maybe the frame opening to this film is the actual opening to the first film if we saw both films back to back? *cough*don't hold your breath*cough* Well whatever the reason, this makes this film work right from the beginning better than the way the last one ended. (Yay!)

I also want to mention how much I love the Bill character in this film. In the hands of most other directors, he would have stayed an aloof mystery as he was in the first film, but nope instead the character comes in (really not until) the ending and becomes one of the coolest and most interesting characters of the entire movie(s). Now I'm sure some of this coolness is thanks impart to the awesomeness of the late David Caradine, but still this should be proof that you can have an awesome antagonist even with only a little actual screen time.

Volume 1 has a great soundtrack, but personally I really like Volume 2's better. The Spanish style guitar, (some of which provided by director Robert Rodriguez) really is the cherry on top for this film. And the credit sequence is just plain cool. It' really makes me wish these were released together as one film, because no matter how hard your butt hurts that credit sequence with the full curtain call and the amazing music rolls, would make it totally worth it.

I admit this is nitpicky, but I noticed that if you watch this film on it's own the Pai Mei flashback really sticks out because the first film is very decidedly "asian" in feel, and this film is much more "western," thanks in part, mostly to the settings (Texas, California desert, etc.) The Pai Mei scenes will work as a nice connector between the otherwise very different "in feel" films but as it is now it kinda seems out of place. Don't get me wrong, I love the Pai Mei scenes, and I think they're introduced in a really, really great way (during the buried alive sequence) just an observation.

I liked the fight scenes in the first film, this film somehow manages to plus them! As would be natural, in one film the fight scenes in the first half pale in comparison to the second half, the fights in this film are far more interesting, clever and unique in my opinion. I love how the Pai Mei sequence is a direct throwback to Shaw Brothers kung-fu films, and I love how the fight with Elle in Budd's trailer is very "Jackie Chan-esque" in that they use a lot of the surroundings in the trailer to fight and I love the gag in the first part where Elle can't even pull out her Hanzo sword without hitting a trailer wall. And I know its short and abrupt but the climactic fight with Bill is really awesome to me, I love how they talk for ever and ever and then it's over in almost a flash. Very cool.

I think the "buried alive" sequence is possibly the most suspenseful piece of film in the last decade (or two!) I absolutely love how it goes completely dark for quite a while and all you can hear is the sounds of being buried alive, and then when she turns on the flashlight underground, the frame is suddenly black and white. Super clever, stylish and effective all in one!

But what I really love in this film is the story. Everything I thought was lacking in the first, improves tenfold in this. I love how the film basically builds its own modern mythology with these characters (specifically the Bride) and I love how the story pays off in the end. I really like how the reveal (not a twist because the audience already knew) to the Bride that her daughter is still alive almost completely unhinges the story we were following, and suddenly her revenge takes a backseat to her daughter. Then she goes to talk to Bill and realizes he's still kind of an a-hole and that he does in fact deserve to die for what he did, still.

Kill Bill: Volume 2 (2004) is everything I was missing in Volume 1, and then some. 5/5 Stars.

Happy watching!

Check out this original minimalist poster design I did for this film, click through to buy prints/posters etc. OR check out other movie posters I designed here. :)

Want more Tarantino goodness? Check back all month for my Tribute to Tarantino in honor of his latest film Django Unchained (2012).

Go back to Tarantino's first film with Reservoir Dogs (1992), check out the first script he wrote (but didn't direct) True Romance (1993), The smash hit that really put him on the map Pulp Fiction (1994), another film written by him but in the hands of another director From Dusk till Dawn (1996), his blaxploitation-influenced crime film Jackie Brown (1997) or the first half of this story Kill Bill: Volume 1 (2003). I got films planned all month, so be sure to check back!



Like this blog? You can support it by buying this film (and 8 other Tarantino hits from his 20 year career) in this new set (now on Blu-ray) through these links:

Kill Bill: Volume 1 (2003)

"Revenge is never a straight line..."

Kill Bill (2003) is Quentin Tarantino’s first [well second if you count From Dusk till Dawn (1996)] tribute to the films of a “grindhouse” cinema. This film is a revenge story that’s jam-packed full of references to different films from all across the scope of cinema: different genres, cultures and styles.

The story of Kill Bill: Volume 1 revolves around a (thus far) unnamed assassin known only as “the Bride,” who is killed by other assassins but somehow survives and ends up in a coma. When she wakes up four years later, she has one thing on her mind: revenge on those who turned on her.

Kill Bill is a film that works far better than it really should. If anyone else tried tried to combine, tribute and homage so many different films in one it would not be as successful as this one. I personally think its Tarantino’s own bold and well defined style that makes all these different things work together so well under one roof. Just look at Pulp Fiction (1994), that film is not only a mash-up of 3-4 different stories but also different musical styles and time periods. But Kill Bill makes Pulp Fiction look like child’s play. This film seamlessly drops direct references to American, Italian, Japanese, Chinese, kung-fu & martial arts, anime, samurai, western and action films and even comics all over the place. Some of these are slight little nods [like the Bride's motorcycle jumpsuit that's patterned after Bruce Lee’s jumpsuit in his final and uncompleted film The Game of Death (1972)], others are the way a person gets killed or even just mirroring the way a shot is framed in another film.

I think some of my favorite ways this film uses different styles is the way the amazing soundtrack (almost all hand chosen from different films) combines with the stylish cinematography. You’ll hear western music over two people kung-fu fighting all the while telling it’s own original story. There’s far too many references in this film for me to dwell on it any longer but if you want a treat check out The Quentin Tarantino Archives, they have compiled quite a few references on their site. Its not a complete list because there were a couple things I noticed that they didn’t have listed, but they have a lot of stuff I had no idea was lifted from other films so be sure to go check that out, its a fun read.

Most of the problems with this film stem from the fact that its really only half of a story. The set up is great, but it doesn’t pay off on it’s own and without more answers or a decent conclusion the film seems like a stylish but empty action film. The ending in fact, makes an amazing mid point (revealing her daughter is still alive).

Now this is no problem if you look at the films as two parts to one film, but as it is right now Quentin Tarantino has never given the full film a decent release. If he wants to release Kill Bill: The Whole Bloody Affair in wide release or even just on home video, I will revisit this film as one film. But until that day as it is now, I'm sorry its two films.

I usually don't care for Lucy Liu too much as an actor but I love her in this film because her backstory is told in one of the greatest anime sequences in film or television history. Its absolutely beautiful and very expressive with lots of really stylized action and great shot choices. The anime sequence is produced by Production I.G. the studio responsible for Ghost in the Shell, Neon Genesis Evangelion & FLCL. This is such a great way to incorporate another medium even one as drastically different as anime.

I love the fight choreography and cinematography in this film. The cinematography is made up mostly of homages to other films combined in really interesting and clever ways and Tarantino was smart to hire fight choreographer Yuen Woo-ping, who is well known for his work in the films Wing Chun (1994), Iron Monkey (1993) and Jackie Chan's Drunken Master (1978).

And lastly I gotta mention Sonny Chiba, I personally love Sonny Chiba and apparently Quentin Tarantino really does too. I love the way he uses him in this film as an almost Yoda-esque retired sword-maker. His performance in this film is cool, funny and super memorable all in one, and that's really something because apparently he can speak next to no English!

Kill Bill: Volume 1 (2003) is probably Quentin Tarantino's most stylish and action packed film to date, but without it’s second half a large part of the film seems like it's just another emotionally hollow action film. 4/5 Stars.

Happy watching!

Check out this original minimalist poster design I did for this film, click through to buy prints/posters etc. OR check out other movie posters I designed here. :)

Want more Tarantino goodness? Check back all month for my Tribute to Tarantino in honor of his latest film Django Unchained (2012).

Go back to Tarantino's first film with Reservoir Dogs (1992), check out the first script he wrote (but didn't direct) True Romance (1993), The smash hit that really put him on the map Pulp Fiction (1994), another film written by him but in the hands of another director From Dusk till Dawn (1996), or his blaxploitation-influenced crime film Jackie Brown (1997). I got films planned all month so be sure to check back!



Like this blog? You can support it by buying this film (and 8 other Tarantino hits from his 20 year career) in this new set (now on Blu-ray) through these links:

Pulp Fiction (1994)

"Say 'what' again."

Pulp Fiction (1994) is Quentin Tarantino's crime anthology film. Pulp Ficiton is actually 3 different stories (about 40 minutes each) with a fourth story (the diner scene) that is split into a prologue and epilogue for the film. Each story crosses over at some point and characters from other stories walk in to other stories (primarily Vincent Vega). The stories are about a couple that decides to rob a coffee shop (prologue/epilogue), two hitmen that have a the strangest day of their lives (The Bonnie Situation), a hitman who has to take his boss' wife for a night out on the town (Vincent Vega and Marsellus Wallace's Wife), and a prizefighter that's trying to outsmart and escape gangsters (The Gold Watch). Each story seems to revolve around the craziest things that could happen on a otherwise seemingly normal day.

This film makes for a really great follow up to Reservoir Dogs (1992), it has the same bold style that I really liked about that film, but it all feels a little bit bigger and more comfortable. This is the first film of Quentin Tarantino's films that I think he really hits his full stride on his style. His quirky writing, great music choices, unique storytelling, and stylish scenes really all come to full bloom in this film. And much like Reservoir Dogs, some of my favorite things about this film are the simple but stylish little quirks he puts in that show he's really thinking about interesting ways to make a film, for example: Mia Wallace's "don't be a square" gesture complete with on screen diagram, I like how the camera moves over at the end of Zed's "Eeny, meeny, miny, moe" to further show who his first victim will be, and who could forget the creativity of Jack Rabbit Slim's? ..."a wax museum with a pulse."

I also just really like the humor in this film, and not just the humorous dialogue there's lots of awesome viusal gags (like hitmen dressed in beach volleyball clothes!)

It's not bad so much, but I don't find Bruce Willis' story about a boxer named Butch trying to outsmart the mob really as strong as the others. It's still a strange tale, with a really weird couple of occurrences but it's just not as interesting as the other two (or even the diner scene) to me. The core story about a boxer trying to outsmart a promoter is also completely ripped off of one of the greatest boxing films of all time, Body and Soul (1947). That being said, it's no surprise then that this is the one segment of the film that Quentin Tarantino didn't write, I feel it shows.

I gotta mention how much I love the structure of this film. I feel like this is one of those films, that shouldn't have worked as well as it really does. Aside from being multiple stories (as I've already mentioned) the film also tells the stories out of order, characters die in one story and then their alive in the next! Although these are separate stories I love that they are somewhat circular and the things that are set up in the very beginning come full circle by the end. In fact, like how you wouldn't notice this on the first viewing, but the film sets up every single story and at least mentions each character in the first twenty minutes, some of them more obviously than others. Each story really works on it's own as a great short film, each with an amazing climax. But the way the film works together as a whole is a lot better than Tarantino's next anthology project Four Rooms (1995).

I love that the film has a great all-star cast but this doesn't get in the way of each of the characters really seeming like real people. Much like Reservoir Dogs (1992) I love how this film even makes dreaded hitmen argue and converse like your best friends do.

The film's writing is absolutely amazing to me. Tarantino's style is fully exemplified here and I love how he drowns exposition in so much minute and obscure detail that you have no idea what you are hearing is actually going to be very important later on.

Pulp Fiction (1994) is one of Quentin Tarantino's best films, it's very stylish, "cool" and probably one of his most creative storytelling-wise. 5/5 Stars.

Happy watching!

Check out this original minimalist poster design I did for this film, click through to buy prints/posters etc. OR check out other movie posters I designed here. :)

Want more Tarantino goodness? Check back all month for my Tribute to Tarantino in honor of his latest film Django Unchained.

Go back to Tarantino's first film with Reservoir Dogs (1992) or check out the first script he wrote (but didn't direct).



Like this blog? You can support it by buying this film (and 8 other Tarantino hits from his 20 year career) in this new set (now on Blu-ray) through these links:

True Romance (1993) [The Quentin Tarantino Cut]

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