![]() ![]() ![]() Only a handful of directors can make a 160+ minute film in the modern age and get away with it. It’s a terrifyingly dour moment, one that takes a step back from the film’s usual antics to portray raw fear. Having The Bride’s burial scene be an extended take is an ingenious idea. If this were a list of the top 10 things I never want to be subjected to, being buried alive would be pretty damn high on that list. It’s a well-deserved pay-off that socks you right in the gut. Seeing The Bride break down with emotion upon finding out that her previously thought dead daughter is actually still alive is as satisfying as a character arc can be. Plus, contrasting with the first instalment, having a resolution to the story plays out greatly in Vol 2’s favour. One has to wonder how Vol 1 would have panned out if it followed a similar style. Any antagonist becomes far more interesting when you get to know them, which only heightens the tension whenever the Bride pops round for a visit. Seeing how Bud’s life has gone to shit in the wake of his guilt is intriguing, just as how Bill’s twisted sense of justice came from a broken heart. Unlike Vol 1, we spend far more time with the remainder of Bill and his assassins, which prevents them from being cannon fodder. It’s strange to think that at one point, Vol 1 and Vol 2 were part of the same film, only because the concluding segment to The Bride’s quest for revenge follows a far more Tarantino-eqsue pattern – silky smooth dialogue and calculated violence with just enough flair from the original film to make a satisfying sequel. ![]() The disbelief of the situation before him is completely understandable, but there are few things that aren’t worth doing when there’s chicken and waffles involved. Seeing the young Beaumont Livingston argue his way out of being stuffed into the trunk of a car is just downright hilarious. With that being said, a nod should be given to the outstanding performance of Michael Keaton’s squeaky leather jacket, which comes close to scene stealing.Ĭhris Tucker is always funny, and even though his appearance here is short lived, it’s still much appreciated. Seeing Robert De Niro’s Louis Gara getting high and laid feels like wasted time when we should be getting to know how Jackie Brown got involved in a life of crime to begin with, and seeing her charming relationship with Max Cherry play out. It’s such a shame, however, that in the face of a brilliant set-up, the film spends far too little time with Jackie Brown herself, and meanders with subplots that ultimately don’t add up to anything. Jackson, the titular heroine and those around her use their wits, not violence, to stay one step ahead of the competition. With the exception of Ordell Robbie, played so brilliantly by Samuel L. Jackie Brown features an older cast, one that fans weren’t used to up until that point (but definitely would be by the time The Hateful Eight rolled around), and it changes the pace significantly. Jackie Brown (1997)įollowing on from the success of Pulp Fiction was never going to be easy, and yet it’s here that we’re presented with Tarantino’s most grounded film. Seeing The Bride take on an almost insurmountable task is an unforgettable moment, as it puts her thirst for revenge front and centre, unleashing itself in a terrifying and blood-splattering fury. This segment is a non-stop clusterfuck of gore, blades and filters. ![]()
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