Seeing shit like this with a crowd has been the one constant of moviegoing since the beginning of moving pictures and there’s nothing that streaming or superhero bullshit can do about that
Shares with X its obvious affection for genre movies but operates in a wholly different register and despite technically taking place in that film’s universe, West puts Pearl in quotation marks (much in the way Kill Bill’s arch, more movie-ish style stood out from Tarantino’s previous films). This brand of Alamo Drafthouse kitsch will probably find detractors among the Hong Sang-soo set but I think West connects on most of his swings here, aside from the strained allusions to Covid.…
This review may contain spoilers. I can handle the truth.
The scene that continues to reverberate through my mind is the abrupt flashback that implies Cliff murdered his wife. I think it’s the key to the film but every time I have a grasp on it, it slips through my fingers. It fundamentally alters the movie, recontexualizing what’s come before and charging what comes after. People around us laughed but it didn’t strike me as comedic. There’s this deeply embedded notion that, no matter how personal Tarantino claims his work…
• Tarantino, like PTA with Magnolia, made a young man’s old man film, an elegy to vinyl in the jewel case era. (Fitting that Max compromises with a cassette.) It’s somewhat self-fulfilling that a director making something about the difficulty of aging, of being a walking relic, would immediately retreat into the past — or pastiche — for the rest of his career. Reappraisal has hardened into consensus (on LB, anyway) but the trajectory his career would’ve taken had this…