Johnny Marco is content living the rock'n'roll dream, he lives at Chateau Marmont, is entertained by lots of ladies, his bathroom cabinets are filled with a selection of pills and he drives his Ferrari without much concern. He's one of the bad boys of Hollywood and the press love it.
Continue: Somewhere Trailer
In the wake of "Reservoir Dogs," "Pulp Fiction" and "Jackie Brown," film buffs have come to expect intrepid sub-Hollywood scavenger Quentin Tarantino to bowl us over with ingenious, amped-up, style-blending B-movie off-shoots made with a quantum leap of depth and cinematic panache.
Influenced by cut-rate, under-the-counter samurai imports, spaghetti Westerns and popcorn-munching exploitation flicks of bygone eras, the writer-director's two-part revenge saga "Kill Bill" ("Volume 2" is due in February) has sexy, gritty, droll, deluxe Tarantino élan coming out its ears -- and absurdly grisly dam-bursts of stage blood spurting from other violently severed body parts in ambitious marathon swordfight scenes. But while the picture oozes style (and blood), it comes up short on substance -- which is what has always set Tarantino's grindhouse homages head and shoulders above the pulp pictures that inform them.
Choreographed by both kung-fu genius Yuen Wo-Ping ("The Matrix" movies, "Charlie's Angels," "Crouching Tiger, Hidden Dragon," etc.) and Japanese Kenjutsu legend Sonny Chiba (who plays an eccentric master sword-maker in the film), these focal-point fights are the culmination of a plot about a sultry, strong-willed former assassin (Uma Thurman) who was left for dead when her employer -- possibly peeved by her resignation, although "Volume 1" is vague on that point -- turned her wedding into a massacre.
Continue reading: Kill Bill: Volume 1 Review
Everything the kinetic, colorful, superficially violent "Kill Bill: Volume 1" lacked in depth and character is remedied tenfold in Quentin Tarantino's stunning, cunning conclusion to his epic revenge fantasy.
Gone are the absurdist bloodbaths and the superficial grindhouse storytelling, and in their stead the wily writer-director transitions (with masterfully effortless cinematic aplomb) into a character- and dialogue-driven feast of substance and surprises -- which is, nonetheless, still punctuated by spectacularly stylish swordplay.
After a winking mock-noir prologue of recap narration, Tarantino opens "Volume 2" with a parched black-and-white flashback to the wedding rehearsal (glimpsed throughout last year's installment) at which The Bride (Uma Thurman), an unnamed and incognito former assassin trying to go straight, was brutally gunned down (along with everyone in attendance) by her former compatriots.
Continue reading: Kill Bill: Volume 2 Review
Lana Del Rey takes her 60s vintage aesthetic to the extreme with the video for new single 'Chemtrails Over The Country Club'.
As negotiations continue, it's clear that the UK government doesn't have everyone's best interests at heart.
The singer awkwardly responded to potential backlash regarding her new album cover.
Five years ago, on the day of his 69th birthday and two days before his death, David Bowie released his 25th, and final studio album, 'Blackstar'.
Nobody is impressed by Demi "coming to the rescue".
Let's leave gatekeeping in 2020.
These are the albums we're looking forward to most this month.
David Bowie poses difficult questions about lack of racial diversity on MTV.
Johnny Marco is content living the rock'n'roll dream, he lives at Chateau Marmont, is entertained...
Watch the trailer for Women In Trouble Given Sebastian Gutierrez's previous work (including Snakes On...
In the wake of "Reservoir Dogs," "Pulp Fiction" and "Jackie Brown," film buffs have come...
Everything the kinetic, colorful, superficially violent "Kill Bill: Volume 1" lacked in depth and character...