Reviews (1388)

Quentin Tarantino's Tribute &...
The guy is very creative in displaying a story in a very original structure and media. Kill Bill is a cult movie fan's greatest dream come true. Everything is in there from good old Western Coybow movies to the cinema of the east slapped together. For the sterotypical "white" person who only consumes the blockbuster hits of what ever popoular trend is out, this movie may appear silly or confusing to a degree of laughter. Thats the beauty of this movie, it shows us which movie watchers are out there. In the theaters I caught a lot of white people laughing at the asian sequences of the film and they were also dumbfounded by the special appearances of the actors from Wild Zero, Ichi the Killer, Battle Royale, and Suicide Circle to name a few. (i was hoping to see Tekashi Kitano) The only special appearnce of a star they would know is "David carra..whats his name...? the guys from that Kung-Fu show...yeah." A lot of people failed to see the element of honor that was displayed in both films between characters which was a very beautiful element. The action sequences were directed very well so that it made up for a lot of the actor martial arts flaws such as akward positions and hyper extended punches, so there are little moments killed.

One sad thing though is that Kill Bill Vol.2 had a trailer for the 2002 film HERO, which is now going to hit theaters here that did it injustes. They stated that the movie was presented by Quentin Tarantino, but I've overheard many reactions of people thinking that it is directed by Quentin Tarantino rather than the truth (Zhang Yimou). Plus the trailer gave the art film a false representation of an epic war film, many may be disapointed. So are movies like Kill Bill building bridges with Hollywood and Asia or are they just going to jokingly stereotype Asian films and cuture in an unfair way? Fans and crowds shall tell in time.

Oh and by the way, I don't want to sound like "white" people are not cool, I use the term "white" for the typical stereotyping day by day american. As far as stereotypes go, sometimes people enjoy becoming part of it and making it obviously true. I look forward to one day the stereotypes are non existant and everyhting in around our lives is understood for what it is and not what it looks like on the surface.

Maiming and decapitation are never fun. Until now...
Oh, the joy of being a movie geek. This year has been a tremendous blessing for all of the human race, or just us film fanatics, as the movie gods have listened to all our prayers to deliver cinematic goodness. One of these that came as a major grace is called "Kill Bill: Volume One", the latest offering from the dark, perverted but brilliant mind of Quentin Tarantino. Last seen under the spotlight in 1997 with "Jackie Brown", we have been painfully awaiting his next move throughout a six-year-span. Well, time finally came upon us and the wait is definitely worth it.

Appropriately entitled "Kill Bill", Tarantino tells a simple revenge story, albeit through his usual non-linear storytelling structure, about a lanky blonde woman (played by the invigorating Uma Thurman) only known as "The Bride" a.k.a. "Black Mamba" who wakes up from a coma to exact revenge on her former assassin group called "The Deadly Viper Assassination Squad" lead by Bill (David Carradine), who aren't really happy of her decision to quit and marry someone in El Paso, Texas. Hence, bloody carnage ensues as Bill and the gang made of eclectic members-Budd, Vernita Green, Elle Driver and Oren-Ishii-massacres The Bride's family and guests on her wedding day, including her unborn baby. Bill saves her for last and shoots her head (on what could be one of the most startling introductions in a movie). Thinking that she's dead, they leave her cold in her blood-splattered wedding dress, which is a terrible mistake on their part, as The Bride gets up from her hospital bed after four years with furious determination and will to destroy every single one of the perpetrators, saving the best for last, which is, of course, Bill, proving that as far as justice goes, it can easily get very poetic.

However, this is only half of the story, as Miramix, the film distributor, and Tarantino himself decided to cut the three-hour long movie in half and released them four months apart. That being said, I am very sure that Volume Two will be as equally brutal and vigorously entertaining to what I've seen four times in the theaters (Yes, four times! It's that good!)

"Kill Bill: Volume One" is perhaps the most violent American movie ever (and I've seen a lot of movies). It can be easily be used as an example of how the morals of the Western world have dramatically fallen in the 21st century. But it's most important to know that this movie was made as an ode to those rare, odd, cheesy and absurd kung-fu, Western, exploitation, slasher and grindhouse movies we usually see gathering dust in the cult section of a video store or occasionally seen playing on television at 3 in the morning. Kill Bill: Volume One on the surface looks like a very empty fluff made to only shock the already seemingly desensitized viewers, but underneath, it is really a very intelligent piece of art. Intelligent in a sense that it knows the rules of the cinema: it knows it audiences are and doesn't give a damn thing or two to those who don't want to get involved. For instance, The Bride wears a yellow jumpsuit during the last hour of the movie. To the uninitiated, it's just a striking sexy vintage number. To those in the know, it's a replica of Bruce Lee's tracking jumpsuit from his 1979 movie Game of Death. And this is just only a fraction of Tarantino's endless references, in-jokes and homages to old and obscure cinema. From Brian DePalma to Godzilla, from giallo films to Japanese animations, God knows what else are there he injected. I say this movie is an entire pop culture of pop culture.

Even without this quality, it's still deliciously entertaining, boldly creative and visually arresting, it's safe to say that this is an instant classic. No, this is not an Oscar-winning movie, let alone be nominated. But not everything has to have a deep storyline with complex characters to be a great film. This movie has no substance and as empty as a dead shell. But it's an amazingly great film, nonetheless. The fact of the matter is that Tarantino made this with great respect, love and passion of the medium, that he practically utilizes everything to its full advantage from complicated camera shots (the long tracking shot of The Bride going to the washroom is incredible), beautiful cinematography (the claustrophobic and filthy Hospital environment, the beautifully exotic and bright Japanese backdrop), the amazing eclectic selections of music (from Nancy Sinatra's "Bang, Bang" to "The Green Hornet" theme song) and the excellently choreographed fight scenes as if we're watching an amazing, exhausting ballet dance with swords. Oh yeah, and the beautiful gushing of the blood and gore like water coming down from Niagara Falls.

"Kill Bill: Volume One" is an extravagant, highly-stylized, ultra-energized, uber-violent piece of celluloid. It's made up of a world were grativity is without law, violence is sheer poetry, pissed-off Caucasian women likes to play with samura swords, and even assassins have feelings. It's a world where obscure 1970's disco music goes perfectly seamless along with the motion of decapitation and maiming.

Oh what fun!

Aside from that movie that left me with tears featuring hobbits and wizards and that fetus-looking boy-fish who seems to say the word "Precciooooooussssss...." a lot, this year belongs to Kill Bill: Volume One (and I cannot wait for Volume 2!)

Thank you, Tarantino for your sick and twisted mind.

great movie
i loved this film! great STYLE, great action, great story. and very funny. i loved the use of zamfir's famous tune for the samurai scene! it's a delicious homage (or parody?!) of various genres - japanese samurai (esp kurosawa), chinese kung fu, american spaghetti westerns. wonderful.

HOLLYWOOD Tarantino??
Great movie I have to say, paying respect to crazy asian cinema. My only gripe is Uma Therman being in the movie. I would have like to see Quinten dig up and unknown actor or maybe some B movie or expoitation actress. And although I like Lucy Lu I can think of a hundred different asian actresses that would have fit the role better. ANyway, great movie! If you like this movie check out any movie by Takashi Miike like: Iche the Killer, Dead or Alive, Dead or Alive 2, Dead or Alive Final, Audition, Shark Skin Man and Peach Hip Girl.... any one of these movies makes KILL BILL look like a Walt Disney film!!

5 stars for SONNY CHIBA and GORDAN LEU!!!!!
I just saw this movie on DVD after not getting a chance to see this in the theaters. 5 stars for Gordan Leu and Sonny Chiba!! Awsome to see these 2 great legends of asian cinema! I remember seeing Gorden Leu as a kid from just about EVERY great Shaw Bros. kung fu flick! And Sonny Chiba? ..... Cmon! The Japanese James Bond!? Excellent casting. Great flick!! ... Read more

Reviews (15)

There are three subtitle modes
Actually there are two subtitles, full english captioning and just the translated subtitles, the modes are Subtitle Off, Engligh 1, and English 2.

And the aspect ratio is actually letterboxed in 2.35:1 instead of the standard PSP widescreen, so I don't know what is being misprepresented. I've heard more people complain that it is in its original widescreen and not formatted to fill the PSP screen (Spider-Man 2 for example actually was cropped from 2.35:1 down to the PSP's screen size).

This is a great UMD, it has great looking animated menus, it actually HAS a scene selection menu, and it has extras too, a Making Of video and music videos. Compared to the rest of the UMD pack this disc is a feature packed jewel.

Looks and works great, but...
It looks and works great on the PSP, but my only complaint is that there is only two subtitle modes: All off, or all English on. In the DVD version there was an option to translate (display) only the Japanese words and not the English ones. Otherwise, a good buy if you want a great movie on the go.

Do not buy this UMD
Put everything else you have against UMD's aside for the moment (sparse extras, poor video and sound by comparison to DVD's, and insane pricing) and realize what a half-assed product this is. Kill Bill is a fantastic film that was sorely screwed over in its UMD conversion. Not only is the 2.35:1 aspect ratio incredibly misrepresented on the PSP, which means you lose a large amount of the picture on each side of the screen, but you're not even getting the complete director's cut. It's still the edited version. Since the director's cut will be out on DVD in only a few months time, there's a good chance they'll re-release the UMD again as well. And fairly soon at that I'm sure. It'll just prove to be a bigger waste of money for those of you complaining that this format is already expensive enough as it is.

price, not that big of an issue
the price isnt much higher than dvd's, and converting a movie to umd format, you can't expect it to be cheaper i mean come on...... and the quality is just as good as dvd's, if not better.

the shipping is great
i think you should have a selection of movies and ask the customer which regional psp they are getting then it will work i have 2 PSP's one american and one japanise so if i buy the any rejion UMD DVD it will work but most of i will recomend u guys definetly!!!!!!!!!!!! ... Read more

Reviews (257)

Volume 2 Delivers The Goods (4 Stars)
Kill Bill Vol. 1 might have been action driven and fast paced, but Vol. 2 was not. The slower pace made room for better focus on dialogue though. There are still great fight scenes, but not as many as there were in the first movie. Tarantino hit his stride with this movie. Die hard fans should go out and see it. The movie is two and a half hours long, but it's totally worth sitting through. There are great new characters (most notably Pei Mei) and it does a great job of filling in the holes that were left in Vol. 1(like Uma's screen name). Memorable scenes would be Uma Thurman being buried alive and her fight with Elle Driver in the trailer home. Easily one of the best fight scenes ever. Then there's Bill, played by David Carradine. He was probably the most engaging character in the whole movie. While I was disappointed in the way he died, it totally made sense. Overall, Kill Bill Vol. 2 definitely meets all expectations with its great dialogue and awesome fight scenes. Be warned though, the fight scenes aren't as fast and furious as the first movie. Nor are there as many. But that's not bad because it plays to Tarantino's strength: dialogue. If you liked Vol. 1 or if you're into karate flicks, you'll love Vol. 2. But if you didn't like Vol. 1, you'll like Vol. 2 even less.

Better than Vol. 1
If cinema is ever in need of edgy freshness, then Charlie Kaufman is the man to turn to. But when that need arises and has to be fused with humorously offbeat style then Quentin Tarantino is the Kaufman of directors. Or is Kaufman really the Tarantino of aspiring writers? It doesn't matter. In any case, what truly matters is that Tarantino continues to inject that richly abnormal talent of his into his latest piece "Kill Bill: Volume 2."

Four years after being betrayed by her former boss Bill (David Carradine) and shot in the head at her wedding, The Bride (Uma Thurman) wakes up from her coma and thirsts for revenge. After dispatching Vernita Green (Vivica A. Fox) and O-Ren (Lucy Liu) in "Volume 1," this previously retired assassin is back in "Volume 2" to finish off the rest of Bill's Deadly Viper Assassination Squad and ultimately, kill Bill.

"Volume 2" is definitely the heart of the two movies. Saturated with intense fighting scenes "Volume 1" ended with a bitter sweetness as The Bride seemed completely undeveloped as a character. But "Volume 2" complements the first movie nicely as the action takes the passenger seat and Tarantino concentrates on storytelling, fleshing out The Bride's character. There's actually emotional depth involved now, revealing The Bride's relationship with Bill as well as her motives for leaving an assassin's life.

Thurman is wonderful as The Bride, playing along with Tarantino's take on Hollywood cheesiness to executing some intense dialogue scenes that transition between emotions within seconds. Tarantino is obviously extracting all the skills he can from Thurman, and the end result is worth every squeeze: she pulls off acrobatic feats and heavy dialogue in the same two hours with seamless changeovers.

Carradine also does such a marvelous job of portraying Bill to the point that it becomes frightening. Carradine's subtleties are what form this character and by the end of it all it becomes clear just how insane of a character Bill is: he philosophizes about death while making sandwiches and questions past relationships with a menacing sword in hand. The low and relaxed tone that he carries through the movie makes it feel like Carradine isn't even playing anyone, he's just slipping this character on like an old, comfortable shirt.

But it's not just the characters that make Kill Bill so special. The first installment is wonderful in paying tribute to Japanese anime, folksy spaghetti westerns and an overall homage to "old school" Asian kung fu flicks. Tarantino again draws various sources from 70's pop culture to showcase the quirks of "Volume 2." Whereas the first movie displays Tarantino's knowledge of Asian cinema with wire-wearing kung fu, with unrealistic squirting samurai-movie colored blood included, "Volume 2" solidifies that homage to the full extent.

Perhaps the single greatest movie moment of 2004 is in "The Cruel Tutelage of Pai Mei," the film's chapter in which the origin of The Bride's abilities is discovered. Tarantino brings out all the stops on this one. From the stereotyped supercilious personality to the superficial white facial hair, the character of kung fu master Pai Mei (Gordon Liu) is the absolute embodiment of a 70's Chinese kung fu flick. After this scene, it's obvious that Tarantino is on the edge of oddball insanity, right there with brilliance on the other side.

Like the chapter of Pai Mei, the rest of Tarantino's film combines everything campy and corny with his bizarre sense of direction. And everything rationally ridiculous here somehow ends up as abnormally gorgeous.

Superb second chapter
A radiant bride-to-be (and mother-to-be) who calls herself Arlene takes a few minutes out of her wedding rehearsal to talk to her former boss (and ex-lover) about the peaceful new life she's planned. She tells him she'll be working in a record store where she'll get to "listen to music all day, talk about music all day. It's really cool. It's going to be a great environment for my little girl to grow up in."

"As opposed to jetting around the world, killing human beings, collecting vast sums of money?" her one-time employer asks.

Yes, Arlene is actually The Bride (Uma Thurman), a.k.a. Black Mamba, one of the Deadly Vipers Assassination Squad (D.I.V.A.S., for short). And, yes, the man with whom she's sharing her future plans is Bill, the enigmatic, shadowy D.I.V.A.S. commander who never showed his face in "Kill Bill, Vol. 1."

Bill, played to diabolical perfection by David Carradine, is visible throughout "Kill Bill, Vol. 2," and that's only one of the many changes between the first and last installments of writer-director Quentin Tarantino's epic saga of revenge and retribution. "Vol. 1," which took place largely in Japan, was a magnificently gory, almost operatic homage to the Hong Kong and Japanese cinema of the 1960s and 1970s; "Vol. 2," set primarily in Texas and Mexico, is considerably more controlled -- although no less stylish -- and moodier, paying tribute to the unconventional Westerns of director Sergio Leone and, in its black-and-white flashback sequences, recalling such late-1940s/early-1950s thrillers as "Gun Crazy" and "The Big Heat."

No one ever accused Tarantino of being shy when it comes to laying out his catalog of influences.

Cinematographer Robert Richardson's all-seeing camera swoops, slithers and moves stealthily around each scene, just like our unstoppable heroine, then throws in some extreme close-ups that feel like a fist between the eyes. Editor Sally Menke and production designers David Wasco and Cao Jui Ping do wonderful work as they recreate everything from "In Cold Blood" to the washed-out-looking, jumpy Chinese chop-socky films of the 1970s.

But far from being merely imitative, "Vol. 2" features a few breakthroughs for its creator as well. A prolonged sequence involving a character who is pummeled, drugged and buried alive is one of the most gripping episodes of Tarantino's career, and The Bride's apprenticeship to merciless martial arts master Pai Mei (Gordon Liu), a deceptively wispy-looking type with a strong chauvinistic streak, is outrageously hilarious. "Your so-called kung fu is really quite pathetic," Pai Mei taunts as The Bride tries -- and fails -- to impress him with her moves. "Like all Yankee women, all you can do is order in restaurants and spend a man's money!"

The finale of "Vol. 1" was a blood-drenched, wickedly hilarious free-for-all, with The Bride dispatching scores of would-be hitmen in a showdown in a Tokyo nightclub, but the last half-hour of "Vol. 2" is a shocker of an entirely different kind, as Tarantino aims for the heart instead of the funnybone. He tried something somewhat similar in the bittersweet wrap-up of "Jackie Brown," with mixed results. He's much more successful this time out, partly because he's created a steadier build-up to the crucial emotional crescendo (set to a marvelously trippy remix of The Zombies' "She's Not There") and partly because the tension Carradine and Thurman generate in the pivotal scene, as bloodlust collides with memories of happier days, is utterly riveting.

Tarantino's cast fills out a classic rogues' gallery, dominated by Carradine's Bill, a psychotic who conceals his sadism beneath a calm, paternalistic exterior. Daryl Hannah's one-eyed Elle Driver and Michael Madsen's Budd, both of whom were briefly seen in "Vol. 1," get ample opportunity to prove their worth as antagonists of The Bride. The face-off with Elle, in particular, is so delightfully demented only Tarantino could have conjured it up.

Was the director wise in turning "Bill" into a double-bill? Absolutely. For one thing, he must have realized he had made an extravaganza that would have been too intense and certainly too emotionally exhausting for most audiences to process in a single four-hour sitting. Also, he obviously knew he had a second half that would be well worth the six-month wait.

"Gargantuan -- always liked that word; so rarely have a chance to use it in a sentence," the icy-hearted Elle murmurs at one point. Try this on for size: The frenzied, funny and unabashedly ultraviolent "Kill Bill" saga represents a gargantuan achievement in action cinema.

Can a movie possibly get any better than this?
First I'd like to say that Quentin Tarantino is the best film maker that ever lived period. I would say that KILL BILL VOL. 2 is the greatest film since Casablanca. This is by far my favorite of Quentin Tarantino's films. This is a must own Dvd. Buy this awesome mind-blowing classic movie today.

This movie should not be see by the stupid ones
YES YES MAN I THOUGT THAT THERE WAS NOT TOO MUCH STORY BEHIND THE 1ST VOL IT WAS GREAT BUT SOMETHING WAS MISSING IT WAS THE AWESOME STORY OF THE 2ND. IS LIKE WATCHING A SPAGHETI WESTERN BY SERGIO LEONE BUT BEING DRUNK.BUT STILL I DONT KNOW HOW SOME PEOPLE TALK SO MUCH CRAP ABOUT THE 2ND VOL.IS PROBABLY THAT THEY MISSED THE POINT THAT IS VERY SAD MAN.THAT'S WHY THIS MOVIE IS NOT SUITED FOR THE DUMBASSES.WHEN YOU SEE THIS VOL YOU WILL DEICIDE IF YOU ARE A TRUE TARANTINO FAN!!!! ... Read more

Reviews (167)

Pulp Fiction Meets Fright Night
I'm a big fan of Tarrentino's work, though he gets alot of bad rap I believe him to be one of the most talented writers alive, starting with Resevoir Dogs, he wrote Natural Born Killers, and Four Rooms, Desperado, and finally coming to From Dusk Till Dawn. This movie was a rocker, holding any clues or hints that there would be deradful horror in the last hour. Teaming up with horror man Robert Rodriguez, they put together this very well made horror movie about two criminal crazy boys [George Clooney, Quentin Tarrentino] who are on the run for Mexico, They kidnap a family on road [Harvey Keitel, Juliette Lewis, and the son]and they come to a bar called the T**ty Twisters, they find that the bar is infact an eledged trap for feeding time for the vampires that inhabit it, they have to become a team with their hostages to survive, not to mention a couple other cast members; Fred Williamson, and the Sex Machine. You actually grow to admire the Gecko brothers [Clooney, Tarrentino]and Tarrentino's fine writing, alot of sick and twisted but also real features you'll see, along with bloody vampires nawing on humans, and a sided 4 man battle over a bloody severed body part battle ground, that turns to chaos. The movie was very well put together, starting out with 2 Pulp Fiction guys that run into a bunch of Fright Night vampires, the idea was to act upon the impressionable idea that Stephen King does himself in his novels, that to draw the audience into the story so that they indeed care about the characters and them BAM! vampires come along, you put the characters in this altered world of life and death. This movie is especially good on DVD, the sound is ausome along with the bonus materials, and the wide screen.

Vampires Might Be Hear To Stay With Cult Classic
In the early months of 1995, talented Mexican director Robert Rodriguez (El Mariachi, Desperado, The Faculty) and cunning cinematic guru Quentin Tarantino (Reservoir Dogs, Pulp Fiction, Jackie Brown) merged artistic passions to compose an intricate genre hybrid that evokes both the artists unique sensibilities, emanates mind-bogglingly unthinkable comical insights, and reveals an abrasively hip yet sophisticated screen persona that supplies unforeseen drama within the forum of an exploitation film. Surging with distinctive Tarantino culture dialogue and references, Rodriguez's go-for-broke action sequences, marvelous performances from Harvey Keitel, George Clooney, Quentin Tarantino, Juliette Lewis, Salma Hayek, John Saxon, Tom Savini, and Cheech Marin (in three supporting roles!!!), an unyieldingly concentrated pace, spectacular comedic splicing with its horror elements, splendid gore and make-up effects, and a predominantly mischievous ambiance of unpredictability that leaves any first-time viewer totally in hands of Rodriguez and Tarantino, From Dusk Til Dawn persists in being a heavily entertaining dual genre piece that attains dramatic grandeur, profound performances, and even moving pathos within the framework of exploitation piece.

The film depicts the story of the infamous Gecko Brothers', Seth (George Clooney) and Ritchie (Quentin Tarantino), odyssey from their violent southern Texas exploits to their arrival at the unforgettable Titty Twister bar. Along the way, the Gecko brothers inadvertently blow up a liquor store, hallucinate flirtations and verbal taunts, "accidentally" rape and murder a seemingly docile hostage, and kidnap a disillusioned pastor's family and their motor home on their way to their bar rendezvous across the Mexican border. Though these characters may seem to be the most unsympathetic characters to be rooting for. Tarantino's knack for instilling humanity into his criminals is second to none, and along the way towards the bar and the film's personality switch, through absorbing dialogue, gritty performances, and realistic plot developments (in the Tarantino half), we are given unusually affable characters that allow the audience just enough audience identification with the characters before they are literally placed into hell incarnate. While watching From Dusk Til Dawn, it crucial to note the film's story arc is essentially one-half Tarantino crime tale/ one-half gory horror gore opus. This was done I believe to introduce the characters, personality dynamics, and innate personal tendencies of the people in their real environments before establishing the horror. What happens quite often in horror films of the last two decades is we, the audience, are immediately transported to the improbable before we even really know our characters. The characters of a movie are our conduits into the realm and the story of a movie. Doesn't it seem probable that if we have an enhanced understanding of the characters we might enjoy the film's narrative a lot more? From Dusk Til Dawn follows this mentality to its most logic summation as character and style overcome commercial convention.

Since it release, From Dusk Til Dawn consistently besieges it audiences with an intoxicatingly visceral affront of violence, mayhem, elaborate chaos, and inventive havoc that entertains and delights beyond anyone's expectations. Though definitely not Academy Award material so to speak, From Til Dawn remains a superlative horror extravaganza.

As for the film's new DVD Collector's Series edition, FDTD contains an informative Rodriguez/Tarantino commentary track, a feature length documentary entitled "Full Tilt Boogie", extensive outtakes, deleted scenes, two music videos, the theatrical trailer, and much much more. A Definite Must for any Horror Fan.

Tarantino and Rodriguez? Excellent!
I've watched a couple Quentin Tarantino movies, and I absolutely loved them. I also liked 'Once Upon A Time In Mexico' from Robert Rodriguez. So as you can imagine, when I heard about this movie, I was very excited. Tarantino is a masterful screenwriter, and Rodriguez definitely has decent skills behind the camera.
After watching the movie, I have to criticize one thing. The first half (about) of the movie was flawless, with QT and George Clooney as two Convicts, the Richie and Seth Gecko. When they embark from the first scene on, it seems as though the movie could go any direction and still be entertaining. However, when you throw in a night club that is flocking with vampires (fitfully so, the club is open dusk till dawn), you can't keep the same movie that you had. I give the story a lower score due to the fact that it doesn't fit well. If you couldn't guess from the title, and you hadn't seen the trailer, you would be oblivious to the fact that the second half of this movie is all vampires. I believe it would've worked better as a full movie of either type. Crime or Horror. But nevertheless, I couldn't resist the acting from QT and Clooney, along with Harvey Keitel and Juliette Lewis. Other than my single complaint, I really enjoyed this movie. As bloody and violent as it is, it's just so fun.

queten tarentino-another excellent director
3 people get abducted by an escaped con and his brother and go to mexico.they hang out in a bar full of vampires all night.george clooney is in it.he does an outstanding job as a escaped prisoner.then theres some freaky sex offender type-not necessary!and the 3 hostages.they are some old preacher dude,juliette lewis and some mexican kid.this is not for children.it is by far and away the best of the from dusk till dawn set.there is a post rape scene at the front that could turn a few heads.thier is a mexican stripper who.........well.....strips and of course the always awesome julieete lewis to look at.every role ive ever seen her play she did an excellent job.she is my favorite actress.the hype says this movie rocks and it does.there is a special apperance by cheech also.filthy and brief.juliette lewis and george clooney both do an excellent job but have better films out there.

sucked
this movie was good for the first 40 minutes....after that it just blew REALLY hard. vampires? come on! i felt like i was watching "Buffy the Vampire Slayer." it had the potential to be a very good movie, but instead pussied out. don't even bother renting this. or option number 2: rent it for the first forty minutes of it, and laugh at the rest. ... Read more

Reviews (31)

Wonderful telling of Genessis
I do not understand why most critics have very few good things to say about this movie. Okay, maybe the atmosphere is a little dead at times, and perhaps there could be more dialogue, but overall this is one of the most beautiful biblical stories I've ever seen. A superb cast - including Michael Parks as Adam, Ulla Bergryd as Eve, Richard Harris as Cain, George C. Scott as Abraham, and Ava Gardner as Sarah - bring warmth and sensitivity to the familier stories. John Huston's somewhat comical portrayal of Noah is definitely the highlight of the film. I first saw this movie when I was very young. I now own it and watch it often. The script sounds like it was taken directly from the Bible itself. The opening dialogue is, of course, "In the beginning..." The creation scenes which follow are simply magnificant. And the music which coincides with it is just beautiful. Right now I have that image of the birds in flight and the raging sea waters. The one scene which gets me every time ( and which I keep rewinding to see ) is the scene with Hagar and Ishmael in the desert. The spring of water bursting up through the ground at Hagar's feet is one of the most moving moments in the entire movie. This film is definitely worth seeing. Never mind what the critics say.

The Bible As Film: A Worthy Retelling
1966: Huston's film covers the first twenty chapters of Genesis- from the Creation, the Flood to Isaac's near sacrifice. With lush cinematography, fine acting and superb music. Richard Harris, Ava Gardner, George C. Scott and Peter O'Toole are among the cast. In the 60's, and in fact years before in the 50's, the bible dramas were quite popular and appealed to many audiences who had undergone war and conflict from home- it was the turbulent 60's after all. The Ten Commandments and Ben Hur were transcendent films only a couple of years before.

Making a film about the first book in the Bible, the most mysterious and most alluring, Genesis, must not have been an easy task for director John Huston, nor was it easy enough for actors portraying biblical characters. But this film is exquisite, well-done with fine performances by the actors, most notably Richard Harris as Noah and George C. Scott as Abraham. The actor and actress playing Adam and Eve are just as most of us imagine them to be - gorgeous in the nude, walking around a beautiful, semi-tropical garden and being seduced by the apple in a tree which a treacherous snake deceived them into eating.

The film goes on to describe the biblical scenario established before the Flood, of humankind's lechery and vice in Sodom and Gomorrah, and God's wrath resulting in destruction. Very powerful imagery and very fine interpretation. It is not just a Christian or Catholic film, it is a film worth watching just for the moving drama. After all, life is but a drama, a film of which we all take part of. The music to this film is also very inspiring, although subtle and haunting. "The Bible.. In The Beginning" (as this film is often called) makes a great assignment to watch in a college or high school in which students read the Bible as a form of literature and work of human history, mainly that of the ancient Hebrews.

Almost perfect
I liked the movie in all parts except for two. I'll start with the positive things.

Another reviewer mentioned it was a little slow in the beginning, and that is true, but if you can be patient, you can get into it.

The Ark scenes were great -- a little humor never hurt anyone.

Sodom and Gomorrah was icky. Probably they did a good job of recreating what it was like, but really, I don't want to see all of that. If a couple quick shots were removed, this scene would be good.

Abraham goes on this weird monologue sort of thing, that I didn't really get. I am engineer, so perhaps I just don't appreciate the drama of it.

FIRES BELOW .....
EXCEPT for the MAGNIFICENT score by TOSHIRO MAYUZUMI ... this one does not quite hold up as it was promised. Granted ... it IS different ... lots of hoopla during the filming - after all we would be seeing Adam & Eve [variously] buffish ...

BUT the producers must have spend quite a fortune on EYE MAKEUP .... Ye, Gods, even the kids are sporting green or vaguely lavender eye-shadow - as for NIMROD's golden brows!

AVA GARDNER does shine as SARAH - unafraid of unflattering lighting or angles, but she was and still is quite special, and GEORGE C. SCOTT does have a few pithy moments .... the make-up though! BRINGING UP THE REAR - so to speak is Peter O'Toole as Triplet, blue-eyed Angels of Wrath [!], Richard Harris - star rising ["This Sporting Life"] as Cain, Zoe Sallis as the 'other woman' in Abraham's life, Stephen Boys [utterly wasted] as Nimrod, John Huston as a bemused, befuddled and bewildered Noah [nice comic turn though], and somewhere in there a Young Franco Nero!

COSTUMING is dreadful - pity for this almost completely Italian Production. And the famous SODOM AND GOMORRAH sequence? Pale Fellini or is it George Romero? The styrofoam blasted 'Wife of Lot' - really!

WISH the score was available on CD - MAYUZUMI went on to score Huston's "Reflections in A Golden Eye" - somewhat better fare.

DVD sound is VERY ODD - stereo? Color is quite washed out too - pity - this one could be wonderfully restored in full 5.1 or even DTS - it is as close to an epic as we'll ever come!

if adam & eve were this dull, they 'd never have multiplied
thank god (pun intended)that the bible characters werent really this over inflated and boring because if they were, they would have never had the energy to recreate, to be fruitful and to multiply.
the where would be?
if disney or some other company were to take their fairy tales this seriousely they be laughed off the planet. ... Read more

Reviews (112)

Laughs, Tears and A Lasting Memory
I recommend this movie to anyone who hasn't seen it. It will make you laugh and even cry. Bridgette Andersen portrays Savannah, a child who runs away from home and ends up in the back seat of two criminals' car. Although she seemed to be neglected at home, after she is found by these men she learns to love them and they learn to love her. For two people who didn't do anything honest, they both loved and cared for her as her parents should have. They love her so much, that they must give her back. A wonderful film with a wonderful story and cast!!

When Savannah Smiles I hear The World Saying Hey Loser You W
This is so heartwarming. You'll laugh and cry and just want to snuggle with the kids. Your kids will want to snuggle with you. It's just one of the great films of the 80's. I had seen it, as a child loved it had to find it as an adult to show to my girls. I searched far a wide for a copy and I'm pleased to see they've re-released it. It took me a long time to acquire it but so happy with it. You can get for 17.99 on Amazon. I paid close to 40 dollars for it before the re-release and I'd pay that much for a used copy again in a heart beat. It's just that good. Fall in love with Bootsie, Alvie, and of course Savannah.

Wonderful!
This movie is a must see for everyone. It is an incredibly touching story. I saw this movie when I was 10 years old (I am now 30)and it has remained a favorite.

Savannah Smiles on PFE
I bought this movie because I loved it as a kid and now have 4 girls, I read that the Pacific video was awful, it was certainly not DVD quality but it was like a good VHS video and the sound was kind of low thank Goodness for Bose.... All in all I still cried at the end and I would recommend this video to anyone with a heart....

Not bad guys
The review I just read made it sound as if Savannah just bumped into and left with Boots and Alvie, but she didn't. She was hiding in the back seat of their car, and these two(who are rather short on brains) don't know what to do with her. So in my opinion this isn't suggesting to children that it's o.k. to go off with strangers. Also, kids need to be taught that what happens in movies and in real life are 2 entirely DIFFERENT things!!! ... Read more

Amazon.com

Drifting as far from Michael Winner's original and interesting 1974 Death Wish as possible, this belated sequel in an often ugly series is nevertheless a harmless, fairly conventional thriller featuring a watchable cast. After his life of loss and misery at the hands of criminals, vigilante Paul Kersey is ready to settle down in romantic bliss with a fashion designer named Olivia (Lesley-Anne Down). Unfortunately, the lady happens to be the target of her mobster ex-husband (Michael Parks), who has a tight grip on New York's garment district. Disfigured and finally murdered by her former spouse, Olivia is avenged in very creative ways by Paul, who resorts to such esoterica as using a remote-controlled soccer ball to deliver an explosive punishment. Bronson largely phones it in for this potboiler, though even in the winter of his life he can look quite compelling in his stoic way. Helping to keep things interesting is Parks's kinky cruelty and Saul Rubinek's vaguely bemused performance as a well-meaning prosecutor. --Tom Keogh ... Read more

Reviews (20)

Bronson Really Lets Them Have It This Time!!!
In this, the fifth (and probably final) film of the "Death Wish" series, Paul Kersey has entered the Witness Protection Program and has moved back to New York City (actually Toronto, Canada) to settle down with a famous fashion designer. Unfortunately, his fiancé's mobster/ex-husband (played by Michael Parks) is getting involved in the fashion industry and begins to make life hell for both Kersey and his future wife, Olivia (played by Lesley-Anne Down). When Olivia decides to testify against her ex-husband, she is brutally disfigured and then killed at her home. That is when Kersey goes to work!

Using chemicals, military weapons and even children's toys, Kersey gives the mob something they wish they never got (and does he ever give it to them!).

Definitely one of the best and one of the most violent in the series, this film shows many scenes (albeit brief) of graphic torture, so parents should definitely keep their children away until they're at least 16. Even Bronson (72 when he made this) is still in peak physical shape and it is great watching him kick ass with the best of them. Forget Schwarzenegger, Stallone or Seagal. Charles Bronson is indeed the quintessential tough guy and there's no beating him!

Film lovers who love watching bloopers will have fun with this one (watch for the Canadian mailboxes in front of the fashion factory, especially when it suppose to be New York City)!

If there does happen to be a "Death Wish 6" (and the ending of this film leaves that possibility), I can only hope it was as good as this one and not nearly as horrible as some of the earlier entries (eg: Death Wish II) in the series.

Definitely check out "Death Wish 5: The Face Of Death". You won't regret it.

Worth while seeing
No joke Charles Bronson's Death Wish V is a enjoyable thrilride from start to finnish. Paul Kersey has been retired from the viglante game for several years now is a professer of Arctitecture and has found love and is about to get married. But somehow fate won't leave Kersey alone His girlfried's ex big time mobster Tommy o Shea tries to take over her fashion empire, she goes sees the District attorny ends up with her face disfigued and is killed. Bronson shows more acting ablity this time around and the action is well staged and less idiotic than in previous Death Wish films. Michael Parks is a meanicing presence with a bad haircut, & dopey looking eyewear. This is only Death Wish Entry worth remembering next to the original Death Wish.

creative deaths kept me laughing
The way the bad guys are dispatched in this one is classic. Boy did they deserve it. The smile on Bronson's face...! I loved this series. Thanks for the fun Kersey.

Bad Ending
This was a bad ending to both this movie and the entire sequel. While this movie does have explosions, gunfire, and a story line unlike the previous movies, it seems to abruptly end without a full close to the story.
As far as a close to the sequel, it would have been much better if they would have had Jeff Goldblum come back to face Bronson; after all, he did get away with murder in the first movie.

Over all, I do recomend this movie to all Death Wish lovers. Charles Bronson was correct when he defended thsese movies, it does give a sence of satisfaction to all those who are fustrated with the legal system.

Last time has its charms.
Paul Kersey now lives in the witness protection program (why?) and is preparing to settle down with another woman, a fashion designer in New York, and her daughter. But this new love comes with some ugly baggage. Her ex-husband is a local hood who is using his ex-wife's business to clean his dirty money. When this operation is threatened said ex makes violent threats and then follows through on them with his trio of thugs. Of course the law seems to be unable to do anything about it and Kersey (who everybody on the planet seems aware of) returns to his old ways - nobody puts up much of a fight. There is very little steam in this entry, but writer/director Allan A. Goldstein does manage a few nice touches, just not as many as previous entries had. Bronson still has more star charisma and presence in his winter years than just about any action star of today. You could believe his punch would still pack a wallop. What is sad though is that Goldstein's script is so choked with illogic. As I mentioned before, it seems that every law enforcement officer in New York City (actually cost saving Canada this time around) knows that Kersey is back to his creep killing ways and their only reaction is. "Cut it out, will ya?" That does not tension make. Heck, even Death Wish 4: The Crackdown handled it better. Nonetheless, the cast plays their roles with just the right amount of winking and/or phoning in and one or two inventive dispatchings of the love-to-hate-them bad guys spices up the overly routine aspects of the movie. But it's for the die hard fans only. ... Read more

Description

The latest bone-chilling installment of FROM DUSK TILL DAWN reveals how this frightening saga all began! Narrowly escaping death, outlaw Johnny Madrid (Marco Leonardi -- LIKE WATER FOR CHOCOLATE) is on the run from the hangman (Temuera Morrison -- SIX DAYS, SEVEN NIGHTS) ... with the hangman's sensuous daughter Esmeralda by his side! Along with Madrid's gang, Johnny and Esmeralda embark on an adventure filled with colorful and unsavory characters who lead them straight into the fight of their lives! Also featuring Danny Trejo (CON AIR), Rebecca Gayheart (SCREAM 2), and Michael Parks (FROM DUSK TILL DAWN 1&2) -- you won't want to miss a minute of epic confrontation that results in Esmeralda's discovery of her secret birthright! ... Read more

Reviews (30)

Been There Before
I guess if you're a fan of the original cleverly planned From Dusk To Dawn,you have interest in seeing where the sequels would go...In the case of "Texas Blood Money",a low-budget,poorly conceived movie...absolutely nowhere! But as was the case with prior Blockbuster sequels sometimes it takes a 3rd try to get it right...The best way to describe From Dusk To Dawn 3: Hangman's Daughter is an exact duplicate of the first with the era and the characters changing,otherwise the premise is the same.Like Clooney & Tarantino from the original,It is now Outlaw,Johnny Madrid who is on the run.And instead of the kidnapped family in the Van,It is the Stagecoach passengers who uwittingly enter the famed Bar after their Stagecoach drivers are killed...The Bar is the same with Vampire hosts forming the entertainment.Instead of Cheech Marin providing the "hawker" role,You now have a Stable boy.So what you get with "Hangman's Daughter" is a basically a rehash of the original and when you get done watching it,You feel you're "been there,done that".Is it entertaining? Yes,Graphic Special Effects,Lots Of Action & Suspense.It's certainly watchable and certainly entertaining.If you keep your expectations realistic.The Acting is passable.The Characters are likeable.Temuera Morrison will make you forget Salma Hayek in a moment.All in all,I felt entertained for my "buck" (actually 5) Hopefully the series has now had its run before "watering" it down any further ala "Halloween" or "Friday The 13th.

Ambrose Bierce vs The Vampires
This third movie in the series goes back to the turn of the century (19th to 20th that is) and concerns author Ambrose Bierce who traveled to Mexico to aid in the revolution but was never heard from again (see the book The Old Gringo by Carlos Fuentes). In this version of history, Bierce runs into some vampires at a saloon that becomes the bar in the first movie.

Bierce is looking for Pancho Villa to offer his services. But on his way he runs into outlaws, highwaymen, would-be outlaws, posses, a half-breed, a Fuller brush man, and lots of vampires.

Several plots bring all of the characters to the vampire saloon. There we see that even drunk Bierce would have been a fine addition to the revolution. But the usual biting and bloodletting ensues and we discover that the hangman's daughter is an important figure for the vampire (although I wonder how the newly-converted brush salesman knows enough to announce that she has come).

Although this film follows the previous films in pitting outlaws against vampires, this one has a different feel due to the historical setting and characters. It also sets the stage for the later events of the first movie. Bierce is a wonderful character and very nicely portrayed. I will not tell you if his historical disappearance is due to vampires or not.

Pretty Good Third Entry In "Dusk" Series
Third entry in "From Dusk Till Dawn" series is a prequel which has a violent outlaw escaping his execution at the hands of a ruthless hangman and taking off into the desert with his daughter. The two end up at the infamous bordello bar from the first "Dusk" film and it's vampire mayhem galore. This straight-to-video effort is actually very creative with both its direction and general story, not to mention some quality make-up effects from the KNB team. Featuring a strong cast for a video release which includes "Dusk Till Dawn" alumni Michael Parks and Danny Trejo, Rebecca Gayheart, Orlando Jones, and Temura Morrison, just to name a few, this sequel is actually far more solid than one might expect.

As B Movies Go This A Masterpiece!
Keep in mind this is a direct to video title and the third film in the Dusk Till Dawn trilogy. Now right off the bat that should tell you alot. Now with that said I have to put in a good word for the film because it is thorougly entertaining from beginning to end...A guilty pleasure to be sure. Do not be fooled. This is not high art and not even the best of either Rodriguez or Tarantino's work. But the film does stand on it's own as low budget entertainment ventures go and I highly recommend it. The second is just as good as well. Tons of action and gore. If you like this you should also seek out Legend of Phantom Rider a really oddity to be sure, but also quite surprising and entertaining.

Great Vampire Movie!!!
This is a really good update to the series. Its way better than pt 2! I am a very big fan of pt 1 so I decided to buy this, and I was very pleased. Takes place in the old west out in the middle of nowhere. The outlaw Johnny and his friends stumble upon a place in the middle of nowhere. It turns out that the place is run by Vamps!!! DINNER IS SERVED!!! ... Read more

Amazon.com

Husband and wife Arliss Howard (Full Metal Jacket) and Debra Winger(Terms of Endearment, An Officer and a Gentleman) star inBig Bad Love, a fragmented adaptation of stories by Southern writerLarry Brown. Leon Barlow (Howard) is a hard-drinking, heavy-smoking,long-haired, and deeply unhappy aspiring writer who pulls a dozenrejection slips out of his mailbox every day. He fights with his ex-wifeMarilyn (Winger) over his undependability, helps his best friend Monroe(Paul Le Mat) paint a house, and generally tries to get through his lifewith some semblance of purpose. The struggle of everyday life is wellbalanced by vivid realizations of Barlow's dreams, fantasies, and fleetingthoughts. Just at the point when the vague plot of Big Bad Lovethreatens to become maddening, the movie crystallizes with a tragedy thatbrings the underlying grief into focus. A messy but deeply felt movie.--Bret Fetzer ... Read more

Reviews (10)

Big Bad Love--The Best Film I've Ever Seen--Honest
I had read the short story collection before, and seeing the movie made me go back to see what I had missed--but I hadn't missed anything. It is not often that a movie actually out performs a book, but Arliss Howard took Brown's unsympathetic Barlow and turned him into a character I could actually empathize with. The Barlow in "92 Days" I couldn't care less about. This is redneck surrealism done right.
I don't get why so many people have a sore tooth about the film. The cinematography is great and the characters are really southern instead of backwoods cliche. Scenes that didn't make the film get represented with image metaphors (a cow at the typewriter--a chainsaw on the porch--a pig getting carried down the road--so if you paid attention to the book and film at all nothing really gets left out.
Also, the casting is perfect. Arliss plays the best fall down drunk I've ever seen--"That's me and Monroe, Monroe."--and Debra Winger plays the heartbroken ex-wife like no one I've ever seen. The desperation in her face as she is running down the road in the final scene broke my heart.
I think Brown is a talented writer(although the 'gritty realism' thing gets old with me, and sometimes the lack of real emotions his characters have seems unbelievable), but the lady who said to skip the film and go just for the book is crazy. Arliss turned coal to diamonds(maybe not that drastic), and the film deserves alot more credit than it's been given by reviewers and viewers who don't like to think.

Tough Love
It is a brave, albeit sometimes foolish, thing to invest one's soul in one creative project. Arliss Howard as writer, co-producer, director, and star of this film stepped up to the plate, and blasted this one out of the park. He took a series of short stories by realist Southern writer Larry Brown, raw jangled events, and weaved a remarkable semi-cohesive odyssey from them.

Howard, as director, created the kind of film that slaps you in the face. It showers you with smokey narrative, and challenges you to stay up with it. It is very cinematic, laden with lush flashbacks, Fellinisk absurdist characters frolicing about, voice-overs (some of which overlap), surrealism, and piercing symbolism. It recreated the musky flavors of Mississippi, in pace, dialect, and imagery. Some of the dialogue was clever, worth quoting, and much of it was colloquial; rife with down-home twang and swagger. Barlow, the main character, at one point said," I want to punch a mudhole in your ass, and stomp it dry.".

Howard, as producer, teamed up with his wife, Debra Winger, and convinced IFC to release it. Howard, as writer, collaborated with Larry Brown's brother Jim, and they transcribed all the swarthy confusion, drama, and epiphany of the short stories, overlaying them with a through-line and a fascinating protagonist engaged on a drunken angry journey from bathos to clarity.

Howard, as actor, gave an intense, passionate, and unsympathetic performance; like Ed Harris in POLLOCK. We sensed the character's genius, and we were forced to wade hip deep in his imperfections. Leon Barlow was a man fighting demons, and taking heavy body punches. A wannabe writer, a Vietnam vet, an alcoholic, a deadbeat dad, a brawler, and an eccentric. He smoked too much, drank too much, and was not a responsible parent for his wonderful son and daughter. But he was also a loyal and loving friend, and a talented writer. Howard was so good in this part, Roger Ebert in his review reacted emotionally to the negativity of the character. For much of the picture Barlow was falling down drunk, literally, and Howard portrayed it masterfully. The image of Barlow haunts us; that gaunt enebreated stare, that sparkling intellect swirling below the booze, that muscular back covered in scars, his PTSD, that ever present cigarette dangling from his lips.

Paul Le Mat gave one of his best performances as Monroe, the good buddy and best friend. He seemed to be quite wealthy, but after he and Barlow returned from Viet Nam, all he ever wanted to do was hang out with his friend. He became patron and caretaker. He loved the man, and he stood by him regardless of the risk. After Monroe was nearly killed when an Army truck collided with his stalled pick-up, leaving him brain damaged and remote, Barlow was cut loose. And this tragedy came on the searing heels of Barlow losing his angelic daughter to a respiratory ailment. The twin traums seemed to shake the hangover cobwebs from his psyche, forcing him to look into the abyss of his excesses. Then like a bolt of white light he received an acceptance letter for some of his writing, and the denouement was complete.

Debra Winger, as Marilyn, the ex-wife, reminded us that we have missed her screen presence for far too long. Her small scene where she finally lets the grief from her daughter's death descent upon her was devastating. Thematically, Barlow, in jail, had the same moment to stare at his child's snapshot and grieve. Their co-mingled cries of loss and anguish rose together as parents, and it became doubly hard to resist one's tears. Rosanna Arquette had fun with Velma, Monroe's girlfriend, then wife. Her mixture of ditz-sexuality and geniune compassion rang true. Angie Dickinson, as the mother, Mrs. Barlow, did a credible job of joining the ensemble. Michael Parks, as the storekeeper, Mr. Aaron, was almost recognizable. Only his habitual mumbling clued us in; although to his credit he did create a memorable character. Several Tom Waits tunes, and other blues selections were used for musical tone. I wondered how Tom Waits, as actor, would have approached Mr. Aaron. One fun bit of casting had author Larry Brown playing the father, Mr. Barlow.

The film is a carnival ride, and we are swept up in a maelstrom of delusion, cigarette smoke, stale beer, tragedy, humor, and whiskey. As it winds down finally, as the emotional storm abates, we are left with an odd sense of warmth, as if the arduous journey has paid off, and we are left with a sun-kissed birdsong moment on a cloudless Southern morning.

Lots of heart.
BIG BAD LOVE takes more chances than a lot of films that have been made in the last several years. It relies a lot on surreal imagery and a fragmentary pacing to convey the messiness of the life of Leon Barlow, full-time writer and wrecked-up vet. Arliss Howard embodies Barlow fully; it's amazing that he was able to both direct and star in this film and to do a great job in both roles (and a third; he co-wrote the script as well). Paul Le Mat, a great actor who should be seen more often onscreen, almost steals the film away from Howard in the part of his best friend Monroe, who suffers a tragic turn of events that ironically partly serves to bring a semblance of balance to Barlow's out-of-kilter life. The whole movie is a finely-wrought stream-of-consciousness tale, with the underlying theme being that people somehow manage to maintain connections with one another despite the body-blows delivered by life. Highly recommended.

THE BEST AMERICAN INDIE CINEMA IN 20 YEARS
At a moment in time when the critics are raving about LOST IN TRANSLATION a movie that is a shallow con, yes I bought it but got rid of it in 3 days! While the depth and brilliance of BIG BAD LOVE is so on a whole other level and what happened on its release? I don't exactly recall OSCARS handed out to BIG BAD LOVE they are of course too busy giving awards to CGI rubbish like LORD OF THE RINGS.
If the academy voters were as literate and as well read as the so-called "rednecks" in BIG BAD LOVE they would realise that the RINGS movies are nought but warmed up proto-fascism, have they never seen an opera by Wagner? But then again Hollywood has never concerned itself with the possession of knowledge (maybe cocaine but not knowledge) and there has often been fascists among Hollywood's midst from Walt Disney snr who financed Franco's Fascist army during the Spanish Civil War with the profits from Mickey Mouse movies; to the current Gov of California with his record of campaign stomping on behalf of SS Nazi Waldheim in Austria in the 80's and 90's along with his support for Reagan's reign of Neo-Nazi death squads across Central America. It is little wonder that such an industry should worship at the alter of LORD OF THE RINGS that is nought but Wagner meets Tolken meets Disney meets ILM meets Wall Street satisfied. Commies always bothered Hollywood but fascists tend to be better at making money so they are okay by them. When the major corporations of the world insist that we should worship Wagnerian crap like LORD OF THE RINGS one might wonder how different really is our culture 50 years after WWII than if the Nazis had won?

Hollywood does not like films like BIG BAD LOVE because it dares to suggest that small town people can know more than they do. They prefer stereotypes of dumb uncultured rednecks. It makes their own ignorant and stupid minds feel superior when they have nothing to feel superior about.

BIG BAD LOVE is a superb film and this is a superb quality DVD.

Howard Simon Marks
hsm_melody@hotmail.com

"Remember Me"
Others have already given comprehensive reviews of this, so I won't retread, but I just had to recommend this amazing little movie. It was obviously a labor of love in the making, and is much closer to the reality of relationships and human problems than most of the Hollywood junk that folks have grown accustomed to being spoon-fed. "The only thing you know is what goes on inside your head", and that existential posit is true enough.
I'll never forget that image of the boxcar slowly trailing away.

Surreal and touching, funny as it is harrowing and desperate, these characters seek renewal and escape...if that's possible.
Or are they, like all of us, prisoner's of their own lives and subject to the winds of fate? ... Read more

Amazon.com

Interrogations, mind games, and murder: Jonas and Josh Pate’s post-modern thriller may be the bastard child of Reservoir Dogs and The Usual Suspects, but this devious offspring charts its own unpredictable course. Tim Roth dominates the film as the epileptic, absinthe-drinking, genius murder suspect who plays the lie detector like a violin and turns the tables on the cops (dim bulb Chris Penn and simmering veteran Michael Rooker) by stirring up their secrets, and they’ve got some doozies. The twisty little mystery is too clever for its own good, and the Pates neglect to stitch together the loose threads (like what exactly Ellen Burstyn’s raspy bookie is doing in all this), but they have a great eye and style to spare. The chilly stare and cool disposition of Roth’s borderline psychotic makes this battle of wits a game well worth watching. --Sean Axmaker ... Read more

Reviews (8)

The zig zag transfer of blame!
At last we are in front of a clever movie far away from the standars issues who gambles hard and never looses . The movie is a cat - mouse film , that slowly becomes increasing in tension and inner drama .
Tim Roth is a mosnter actor . He carrties at least the fifty per cent of the film under his shoulders . The script pays a glorious tribute to these dark film noir of the fifties .
Roth is framed about a prostitute's murder . In the inquiring process , you'll find the law is out on its mind , due both investigators are full loaded of little nasty private profiles , but since they represent the status quo , the law has to walk in a straight line , and never failing .
The slow process of the facts will carry to a interseting laberynthic game .
This film is a cult movie . An interesting approach with some bits of the Silence of the lambs and The offence . Nobody is innocent is one of the multiple results obtained after the film ends .
Mesmerizing all along the way!

a stylish muddle
I really enjoyed this movie for its style and for some of the more compelling scenes. The murder is not solved and many interpretations of the "evidence" can be discussed to support the guilt or innocence of the two main suspects implicated in Elizabeth's death. It's a fun brain twister, and Tim Roth excels at playing the upper class jerk. There are a couple of memorable scenes but overall, this movie walks the line on being an involving exploration of the main characters. Almost great, but not quite.

Watch "The Offense"
Admittedly, I watched this movie when I thought another one was coming on the TV, and haven't seen the DVD or VHS versions, but I kept watching, since I like some of the "tough guys" in the movie, especially Tim Roth.
It's a pretty good movie, unless you keep watching it, and realize that it's a scrambled version of the old Sean Connery film "The Offense", where a suspect (who may or may not be the murderer) "turns the tables" on the cops and has an altercation with the interrogating policeman (I won't ruin the end of "The Offense", but it's more gripping, in "The Offensive" than "Deceiver", in my opinion).
Apparently Sean Connery cut a deal with his studio to make a few "artsy" movies (including "The Offense" and "The Wall") if he made a bunch of James Bond movies.
"Deceiver" is pretty ok, and I kept watching, but "The Offense" is the source, and better. Presumably there were sources for "The Offense" though, but I don't know them.
Check out "The Offense", and prepare to be "offended"!!!

Manipulated and Lied to
In flashbacks Roth's Wayland shows real affection for Zellweger's character - Elizabeth. Elizabeth is the only person who will listen to him. (who cares) She is intuitive about him -- in one of the best scenes of the movie she notes that he had been laughing "but it wasn't a real laugh, was it?" and talks about the saddest thing being hope. The scene is strong, but I'm unclear how everything that happens ties into what we are shown here. This could have been a great film, but there is no logical explanation for the ending that fits the motivations of every character. We are given pieces just to trick us, and in the end we are not so much tricked as left with a puzzle that can't be solved. If Wayland killed Elizabeth - then Why? Why would someone kill the one person who understood them (who could see who they really were?) There could have been some fascinating psychology put into play here - if this Was the case - then wouldn't the film have been more intriguing if that subject was dealt with? - ala The Talented Mr. Ripley - and trying to understand a person who can't bear to have someone see the Truth about them - as they have been living lies all their life. Or maybe Wayland just couldn't bear to be loved ... as his parents seemed devoid of the stuff. So Elizabeth did the one unforgiveable thing, and noticed him and cared about him... this is where the script could have went for some shred of motivation for What Went Wrong -- it has all the potential and underpinnings for it, but nothing is fleshed out. Maybe it could have been saved with the scene that is missing - something between Elizabeth and Wayland. It is understandable for Wayland to lie to the cops - but it isn't right for the filmmakers to lie to us - at least not in the end - when we want the payoff of being able to decipher who did what and why. Great writers know how to finish a story. It's too bad - because this could have been a great film if someone had the foresight to put it together right. I still enjoyed watching the film for the cat and mouse games in the interrogation room... the kind of power plays I found so interesting in the early years of Homicide are in play here (if in a less sophisticated form -- or I should say a form that has less understanding of human psychology.)
There's confusion in this film, and not just the good kind of confused as you try to understand who did what.
I know it sounds like I really didn't think much of Deceiver. On the contrary, while the story has its share of problems there are times when it delivers the goods. The triangle of tension and deceit between the police detectives and Wayland is compelling. Tim Roth steals the show as Wayland. Roth is both vulnerable yet calculating and devilishly devious - a heady and interesting mix.

Unknown jem
I stumbled upon this movie after reading an interview with the Pate brothers (the writes/directors) in our local paper. I live in Charleston, SC and that is where the Pate brothers live. They actually wrote the script in the Charleston Public Library and filmed it here as well. This is a great movie. It has great acting, the script is solid and the movie keeps you guessing until the end. If you enjoy murder mystery thrillers this is for you. Tim Roth does some of his best work in this movie as well. ... Read more

Reviews (3)

An example of too many friends (cooks) spoiling the broth
BULLFIGHTER dates back to 2000 and the reason it never was noticed (if it even ever appeared) in the theaters is that it is simply a bad movie.Director Rune Bendixen has attempted to make a film that employs south of the border 'magical realism' with spaghetti westerns and has obviously captured the attention of fine filmmakers Robert Rodriguez and Guillermo del Toro as he has cast them in very minor roles.To top it off he somehow convinced a cast of very fine actors to become involved - Olivier Martinez, Michelle Forbes, Donnie Wahlberg, Michael Parks, Willem Dafoe, Jared Harris, etc - but to no avail.

Giving the benefit of some positive comments, Bendixen does stage some sequences having to do with spiritual channeling that take on some nice photographic elements, and....well, it stops there.The editing is choppy at best, the dialogue is not understandable (which is probably a blessing), and the story is so inconsequential that it is next to impossible to stick it out to the end.This seems like Bendixen gathered some good friends together and talked them into a project that would propel him into the ring of edgy filmmakers.It just fizzled.Grady Harp, February 2005

This is truly awful...
I'm not kidding you, this is an absolutely awful film. I'm a huge Dafoe fan, and bought it because he's in it. (He's only in it for about two minutes.) This has got to be one of the worst films I have ever seen. No wonder it sat on the shelf for five years. It should have NEVER been released!!!

I rated it a "1" because there was no choice for "0".
This is the worst god damned movied ever made. Vomitous. Hideous. Stupid. Revolting. Before you say "How can John Hubbard say this is the worst movie ever?", I want to assure you that I have seen "Car 54 Where Are You", "Wisdom", "Cabin Boy", "Dogtown", "Man's Best Friend", "Ishtar" and every other crappy movie that was amde since about 1980. This movie straight up sucks.: the editing, the plot, the dialogue, EVERYTHING. Serviceable actors like Jared Harris, Willem Dafoe, Michelle Forbes and Michael Parks should thank their lucky starts that, probably, nobody but me has seen this movie. I SERIOUSLY thought about burning down my house after seeing this crap stain of a film. The writer and director will hopefully leave Hollywood and go backto work at Burger King. ... Read more

Album Description

Canadian DVD of the final film in the Death Wish series. Starring Charles Bronson & Lesley-Anne Down. Originally released in 1994. ... Read more

Reviews (20)

Bronson Really Lets Them Have It This Time!!!
In this, the fifth (and probably final) film of the "Death Wish" series, Paul Kersey has entered the Witness Protection Program and has moved back to New York City (actually Toronto, Canada) to settle down with a famous fashion designer. Unfortunately, his fiancé's mobster/ex-husband (played by Michael Parks) is getting involved in the fashion industry and begins to make life hell for both Kersey and his future wife, Olivia (played by Lesley-Anne Down). When Olivia decides to testify against her ex-husband, she is brutally disfigured and then killed at her home. That is when Kersey goes to work!

Using chemicals, military weapons and even children's toys, Kersey gives the mob something they wish they never got (and does he ever give it to them!).

Definitely one of the best and one of the most violent in the series, this film shows many scenes (albeit brief) of graphic torture, so parents should definitely keep their children away until they're at least 16. Even Bronson (72 when he made this) is still in peak physical shape and it is great watching him kick ass with the best of them. Forget Schwarzenegger, Stallone or Seagal. Charles Bronson is indeed the quintessential tough guy and there's no beating him!

Film lovers who love watching bloopers will have fun with this one (watch for the Canadian mailboxes in front of the fashion factory, especially when it suppose to be New York City)!

If there does happen to be a "Death Wish 6" (and the ending of this film leaves that possibility), I can only hope it was as good as this one and not nearly as horrible as some of the earlier entries (eg: Death Wish II) in the series.

Definitely check out "Death Wish 5: The Face Of Death". You won't regret it.

Worth while seeing
No joke Charles Bronson's Death Wish V is a enjoyable thrilride from start to finnish. Paul Kersey has been retired from the viglante game for several years now is a professer of Arctitecture and has found love and is about to get married. But somehow fate won't leave Kersey alone His girlfried's ex big time mobster Tommy o Shea tries to take over her fashion empire, she goes sees the District attorny ends up with her face disfigued and is killed. Bronson shows more acting ablity this time around and the action is well staged and less idiotic than in previous Death Wish films. Michael Parks is a meanicing presence with a bad haircut, & dopey looking eyewear. This is only Death Wish Entry worth remembering next to the original Death Wish.

creative deaths kept me laughing
The way the bad guys are dispatched in this one is classic. Boy did they deserve it. The smile on Bronson's face...! I loved this series. Thanks for the fun Kersey.

Bad Ending
This was a bad ending to both this movie and the entire sequel. While this movie does have explosions, gunfire, and a story line unlike the previous movies, it seems to abruptly end without a full close to the story.
As far as a close to the sequel, it would have been much better if they would have had Jeff Goldblum come back to face Bronson; after all, he did get away with murder in the first movie.

Over all, I do recomend this movie to all Death Wish lovers. Charles Bronson was correct when he defended thsese movies, it does give a sence of satisfaction to all those who are fustrated with the legal system.

Last time has its charms.
Paul Kersey now lives in the witness protection program (why?) and is preparing to settle down with another woman, a fashion designer in New York, and her daughter. But this new love comes with some ugly baggage. Her ex-husband is a local hood who is using his ex-wife's business to clean his dirty money. When this operation is threatened said ex makes violent threats and then follows through on them with his trio of thugs. Of course the law seems to be unable to do anything about it and Kersey (who everybody on the planet seems aware of) returns to his old ways - nobody puts up much of a fight. There is very little steam in this entry, but writer/director Allan A. Goldstein does manage a few nice touches, just not as many as previous entries had. Bronson still has more star charisma and presence in his winter years than just about any action star of today. You could believe his punch would still pack a wallop. What is sad though is that Goldstein's script is so choked with illogic. As I mentioned before, it seems that every law enforcement officer in New York City (actually cost saving Canada this time around) knows that Kersey is back to his creep killing ways and their only reaction is. "Cut it out, will ya?" That does not tension make. Heck, even Death Wish 4: The Crackdown handled it better. Nonetheless, the cast plays their roles with just the right amount of winking and/or phoning in and one or two inventive dispatchings of the love-to-hate-them bad guys spices up the overly routine aspects of the movie. But it's for the die hard fans only. ... Read more