Zed's dead, baby. Zed's dead

No 9 - Pulp Fiction

Director - Quentin Tarantino

This is the film that really showcases Tarantino's dialogue (and it is his dialogue which is his true strength). He is very good in situations where he has several stories going on at once - this is a classic example of a successful use of chapter based storytelling, accompanied by incredible performances and a totally boss soundtrack.

If you have to find a central point to the film, it probably falls on Vincent Vega (John Travolta) and Jules Winnfield (Samuel L Jackson) - 2 heavies who work for a mobster called Marsellus Wallace (Ving Rhames). They might not be the protagonist for every chapter (Bruce Willis' boxer Butch also takes the spotlight at times) appear in all of the stories and are pivotal to the tale.

I'm not going to go into detail on all of these chapters, as they have all been assessed to the hilt. However, I just want to talk about a few factors of the film.

This film drips with effortless cool. So effortless that it seems lazy. The film manages to be cool without really trying. This is probably helped by the music throughout (after all - anything would look cool when paired with Neil Diamond.... even though its actually a cover by Urge Overkill in the film). But what is impressive is that elements that shouldn't work at all, end up working. Just look at the picture of John Travolta above - taken from the film's single coolest moment: the twist competition at Jack Rabbit Slims. Firstly, he has lank and greasy slicked back hair and secondly he has the most 90's suit ever seen.... and yet he remains cool.

Same with Jackson, he appears wearing a bloody PERM and yet he still looks too badass for words.

As I've already mentioned, the film's coolest moment is the Twist scene... It manages to be almost nonchalant in the dance, a very cool scene which is now iconic. The nonchalance is important. There are a lot of films out there which are self conscious in their drive to be cool. Obviously Tarantino tries hard to make sure his movies come out as stylish, but it never feels forced. That is an impressive feat and ties me into my next part.

Tarantino has always been lauded for his dialogue, and throughout the film you can see why. The casual conversation occurring through out scenes was pretty revolutionary at the time. Whilst most people discuss the famous Royale with Cheese conversation, I'm much more impressed by Tim Roth and Amanda Plummer's conversation about the intricacies of bank robbery. It is all discussed in a matter of fact and straightforward manner. He also manages to make believable characters with distinctive voices.

Whether it is Fabienne's stilted dialogue with her adorable use of words or L Jackson and Rhames speaking with distinctively 'black' dialogue (whatever the hell that means). He also knows how to lift his quotes. Is there anything more chilling then L Jackson quoting the bible?(then again, he can say anything and sound badass)

There are some moments which don't quite work (Christopher Walken will never be a convincing kindly child friendly character), but the worst is Tarantino himself with his character of Jimmy. A man who grates throughout (I'm not a fan of Tarantino's voice or delivery and find him jarring in every one of his cameos) but who mainly makes me feel uncomfortable through his excessive use of the N word (a word which is liberally used throughout the film, but notably only by black characters). By having Jimmy use it so casually (rather than as a racist insult) it leaves a strange taste in my mouth and is the only part of the film which draws me out of the world.

This is a dark film. A film which successfully shows drug use (and subsequent overdose). Shows an awful lot of violence and an awful lot of abuse. Yet, The Simpsons decide to parody a dark film's darkest moment. Where two men are gagged and bound in order to be subsequently tortured, raped and (it is hinted) killed by a redneck, Dorien Tyrell and a gimp.

It is such an odd choice for a Simpsons reference. What the fuck?!

Throughout the film we spend time with Wallace, the true central crux of the film and a mysterious (and possibly paranormal?) thread throughout it all. After all.... why has Wallace got a plaster on the back of his neck? What is in the suitcase?

Quite the mystery...

A fabulous fabulous film.

It's hard for many people to believe that there are extraordinary things inside themselves, as well as others. I hope you can keep an open mind.

No 452 - Unbreakable

Director - M Night Shyamalan

I'M BACK!!!

I'm so sorry people. I've been busy. Bloody busy. Caught up on all those award winning films that I missed and was also introduced to Indian cinema (not Bollywood though....)

IMPORTANT BREAK BEFORE UNBREAKABLE POST

Watch ROBOT..... it is insane

It is genius.

So....

Unbreakable. Think back to when Shyamalan was fresh and exciting. Here he has given us a wonderful idea. Placing the superhero concept into the real world. Only, PROPERLY in the real world. We're not talking about Batman Begins.... we're not talking about Kick Ass... we're talking about the actual real world, where a superhero probably wouldn't even realise they had special powers.

The film follows that journey of discovery as Willis' David Dunn slowly learns what his powers are. The moments of discovery are almost all universally great. Whether the grand scale of the train crash at the heart of it, or the subtlety of Dunn's realisation that he's never been ill. They're beautifully underplayed. Subtle and elegant (a characteristic which is lost in later Shyamalan films.... though I do have a soft spot for Lady in the Water). The highlight, for me, being the moment he is with his son - bench pressing and simultaneously learning of his strength. It has a joyful playfulness throughout and the way that the initial concern fades to delight.

The journey has pitfalls throughout, and there are some really tense scenes which I don't want to spoil - but the hero worship from Dunn's son, and the problems which arise, are very powerful cinematic moments.

Despite this journey of discovery being the crux of the film, Dunn seems like a very one dimensional character. Only a one dimensional character with cool powers. The real focus, should be on Samuel L Jackson's Elijah Price. Brittle boned, bitter and the film's link to the comic book world which inspired it.

His character is fleshed out through flashbacks. It is his persistence and his research which drives Dunn's journey and therefore you need to know what makes him tick. As the film progresses (and reaches the traditional SHOCK reveal), that understanding and knowledge becomes all the more important.

The other thing that's important to notice is that despite everything (and Price is a bitter, sulky, grumpy little crippled man) - Samuel L Jackson still comes off looking like a total badass.

Seriously.... I think that man is impervious to uncool.

The film is at its best when Jackson is there. Manipulating events and forcing Dunn to question himself, and for the most part, he keeps the film fresh and fascinating.

However, the film isn't ALL about discovery.... once the action kicks in it does lose its ways a bit, but there are still the same nice touches which have been throughout. It could have just done with being about 20min shorter.

Right - I'm going to watch more films with The Superstar Rajni now.... The man is like a God out there.

Oh, wouldn't it be great if I was crazy? Then the world would be ok

No 465 – 12 Monkeys
Director – Terry Gilliam

The future world seen in 12 Monkeys feels like a natural follow on from the future of Brazil. Industrial insanity and large magnifying lenses appear in a world that seems mostly bureaucratic and authoritarian. It is what we want from Gilliam and it is the visual style which is carried on with Jeunet and Caro in their sci-fi worlds. But here we also get to witness the artistic skill of Terry Gilliam. The stark beauty of the isolated snow dusted city – the visual insanity of a lion prowling the roofs of long abandoned state buildings. This is a beautiful post-apocalypse.

The apocalypse in question is the release of deadly chemicals by a group called the 12 Monkeys – and Bruce Willis’ Cole (a prisoner for an unstated crime) is sent back in time to try and find the source of the disaster and infiltrate the 12 Monkeys.

I want to play it a bit carefully, because once Cole goes back in time the plot gets VERY complicated and I don’t want to spoil it by describing in too much detail.

However, Cole is drugged up, 4th dimensionally jet lagged and talking about the future. He is, rather naturally, institutionalised. However he is put in one of the coldest and most savage asylums I’ve ever seen in a film. Its all pretty bleak. Also locked up is Brad Pitt's skew eyed Jeffrey Goines. A sort of mega-mad proto-Durden. His rants about public perception, power and consumerism put Goines in the same class as Durden, just without the mental stability to be able to hold it in or handle it. The two speak and a series of Paradoxes occur. So, from this point on I refuse to speak about the plot besides saying, that what happens is that Cole begins flitting in and out of time at certain points in order to make sure he can catch the terrorists.

He also spends time trying to warn the head of a large animal testing plant that someone will steal their biological warfare samples. It is here we meet Captain Von Trapp and, my personal favourite character of the whole film: David Morse in a very fetching ginger wig.

The film has to be applauded for having some great ideas, and whilst the execution of some of those ideas has dated, most of the film is still really fresh and exciting. There are some weird bits (the 'raspy voice' seems a bit of a strange one) - but it handles time travel in an understandable way.

And it has a gloriously fucked up ending.

"And when Alexander saw the breadth of his domain, he wept, for there were no more worlds to conquer." Benefits of a classical education.

No 29 – Die Hard

Director – John McTiernan

I was enjoying a rock and roll Saturday night after a day in the science museum. Sat at home, drinking Honeydew Beer, thinking about an early night. Then BAM! Die Hard came on TV… Well, I decided, May is close enough to Christmas to watch Die Hard and really it would be too good an opportunity to miss.

So I strapped myself in for some good old fashioned action. From the off three things hit me. Three things that I found surprising:

Firstly, Bruce Willis looks so young! I always forget that he does, but whenever I see him I’m surprised. Secondly, Bruce Willis can smoke in an airport?! My, how times have changed. But, the thing I was most surprised about, the thing I have somehow failed to notice before…. This is based on a NOVEL?! A novel? I will have to hunt it down.

We get a bit of set up. We’re introduced to Argyle who is on his first day as a limo driver and who is obviously (and successfully) the comic relief. We are introduced to John McClane’s wife Holly – who is not a happy bunny, experiencing some kind of marital disputes. And we’re introduced to Harry Ellis who begins life as a smug pompous ‘80s yuppie but who ends up cunto supremo. But at least he has a wonderful beard.

That is one really good thing about the 80’s (and indeed the 70’s) - it was a grand time for facial hair. Beards were actually respected in them days.

But, all these introductions mean nothing. Ellis’ beard is not worth th admiration. For we are about to be introduced to someone else. Someone far better. With a far snazzier beard. Hans Gruber. Villain extraordinaire, played by the legend that is Alan Rickman. Rickman is on top villain form, and he is sporting facial hair which always adds a level of elegance and panache to his baddies.

He is leading a group of Germans planning to steal the $6million conveniently kept in the same building as the company’s staff party. So Holly is held hostage and therefore John is stuck in the building too. The German’s are fairly patchy. Rickman’s accent is wavering at best, occasionally managing a European tint but mostly just staying within the nasal confines of Alan Rickman’s normal voice.

Not that I’m complaining. Alan Rickman has one of the most listenable voices in the world.

Hans Gruber is a wonderful villain though. His little speeches are nicely arrogant. His killings are violent and without remorse. He is a tactical genius. See him put on an (still rather shakey – though that may be deliberate) American accent and pretend to John that he is a party goer – a hostage. Whilst ‘in disguise’ Hans gets information and a gun Unfortunately, John had already seen Hans and is therefore prepared for such treachery, but besides that minor set back, the plan is solid. Well thought up Hans.

His high point has to be when he succeeds to open the safe with the money. Ode to Joy slowly builds up and Rickman manages to look chillingly aloof and proudly triumphant. At the same time. Ruddy impressive.

The rest of Hans’ team are less inspiring: they seem to just shout Schnell a lot. Shouting Schnell a lot does not make you German. This is either lazy character development or lazy script writing. Or both.

Either way, it hardly matters because John McClane is going to instantly change into his vest and beat the crap out of everyone.

Initially John McClane tries to contact the police and get support. However it becomes more and more evident that the police are no help. The only exception to this is Sgt Al who believes John’s story enough to offer feedback, assistance and witty banter. The moment where the two of them finally meet, rather than communicating via radio, is surprisingly touching.

But he is hampered by Paul Gleason’s Deputy Chief Dwayne T Robinson (providing a similar hapless member of authority as he did in The Breakfast Club) and later by two FBI agents (including none other than Goonies villain Jake Fratelli). They don’t trust John, regardless of his police credentials, and would rather sort the situation out themselves. And yet wave after wave of police are shot up and one man succeeds.

After a while the film becomes a dizzying mess of running shooting and bangs. And one awesome explosion when McClane ties C4 to a computer monitor and throws it down a lift shaft. Pretty gosh darned badass. It is just a man on a mission and staying in the tower’s confined environment helps to make a tighter explosive film. It feels a lot more exciting than the open world freedom of say Die Hard 4.0 (they can’t even say Yippee Kay Aye Motherfucker in 4.0).

The premise is simple enough: can the bad guys open the 7 locks on a vault safe before a mysterious vigilante can kill them all.

It is after all, just a simple action film. It is pretty dumb. Big and brash and ballsy. But it is a lot of fun to watch and at least the bad guys get what they deserve.The film might not have the most in depth plot but it has become a key action staple. Other films can only aspire to be Die Hard.

If you can’t be bothered to watch it though, at least watch them put to music.