Chronicles of Second Cold War. 05/19/2020.

The last Tarantino’s film, which I didn’t see.

A reason of watch Once Upon a Time in Hollywood was in review writing, where I see interesting to thought more about director and his filmography than on a movie, which didn’t look promising since a moment of announcement in what time will happen action. Doubts were going on in further. I’ve learnt till reading of story and eventually took a decision to don’t watch. A length in two hours and forty minutes reminded me about people, who thinks that can do an epic canvas and one of after watching conclusions is that – it needs in cuts.

Reservoir Dogs and then Pulp Fiction disclose innovation directing and excellent scriptwriting in Quentin Tarantino. Films have interesting characters, elegant building of dialogs, great choice in 60s music (a time of director’s childhood.) and multiple memorable impressive moments as Christopher Walken’s cameo and his watch story or camera shot of Mr. Blonde’s walking to a car. Tarantino in excellent telling present stories, where chronologies of scenes were changed in places.

Adaptation of Elmore Leonard’s novel Rum Punch, which was released as Jackie Brown, was a director’s right next step. Repeat of same technique is stuck for artist, which shows his infirmity to create a new. Jackie Brown as usual in any author’s composition has spectacular characters, juicy dialogs and sudden twists. I didn’t read this Leonard’s book, but it follows his style, which I know from other works and it can see in multiple screen adaptations. Jackie Brown is only Tarantino’s film without his characteristics. Sixties was a great decade for Sergio Leone – nineties was a decade for Tarantino.

The director in next films not only repeats staff, which made sounding his name, but degradation comes to plagiarism. If ear cutting by Mr. Blonde was esteem to Django, in Django Unchained was idea stealing. A screenplay reading was a decision to don’t watch this film, because director was making a blockbuster. Later I read one article, which compares a script with released film and difference was in enhancing of action scenes. Tarantino’s typical dialogs looked unnatural for the Wild West. People never speak in these forms of speech at least as I remember. In the screenplay I saw familiar story elements of Django 2 – Il Grande Ritorno (Django 2 – The Great Return.). Tarantino was working in video shop and with his co-working friend were spending nights in film watching. He saw flicks, which not so much people know. I’m thinking, that he couldn’t not to see Django 2. The first film is a world known classic in contrast to same great sequel. Tarantino with a title takes slavery to where Django gets; his goal to save a daughter, when it’s a wife in Tarantino’s film; a main villain’s personal black slayer with privileges, who is a woman in Django 2, when in Tarantino’s version is Samuel L. Jackson, who always survives until conclusion at least. Since when director started to do films in past times - it disclosed that he wasn’t learning history. It will a long writing on inaccuracies and I’ll give one in the end, which can show that Tarantino doesn’t care to be precisely on past and his view is surrealistic.

Historical mistakes and plagiarism find in another Wild West film of Quentin Tarantino. I wouldn’t watch Hateful Eight if not one my friend, who wanted that I see it. The director didn’t hide about Il grande silenzio (The Great Silence) filmed in 1968 about it I was thinking in watching his another long film, which strongly needed in cuts. I can praise acting of most actors, but not a screenplay, which with predictabilities as in scene, when Major Warren provokes a Confederate general on gun taking by own imagined story, where obviously know, what usually happens - oldman will die, because it always happens, and especially if him kills Negro in Tarantino’s film and this probability rises in Samuel L. Jackson’s performance of his historically impossible character, who despite on time period still acts his “street nigga”. And the last proof of obviousness that provocation is a tactic of one character in The Great Silence. How I was wanting that Tarantino surprised everybody and personally me that Bruce Dern will first. Walter Goggins’s personage didn’t have evidences that he’s a sheriff and it was found in some of his actions as when he was marauding in general’s coat and didn’t start conversation with Jackson after murder. Maybe, rewritting of screenplay, which was after a leak, Tarantino transformed him in a real sheriff. The director wanted to implement a classical western, but he couldn’t. Ennio Morricone is a man, who composed music for these westerns, is the one, who gave that spirit. Tarantino’s following degradation achieved in bullets of revolvers, which are exploding heads, what makes director a bad trashmaker.

That’s milestone was taken before in duology Kill Bill in blood fountains and a scene with open cortex. If evaluate Tarantino as action director – he isn’t great in staging of these kind of scenes. Sword battle with yakuza did sluggish and in the moment of long ball rolling I was thinking “when will it over?” Kill Bill mentions Shadow Assassin, which is American combination of first and second part of Lone Wolf and Cub, which are excellent examples of sword fighting. I’m not a fan of blood fountains, but there they were demonstrated in brilliance. Unstoppable action with pauses of Japanese mentality for less of hour and a half. Each part of Kill Bill makes heavy watching of very long lengths with a boring story and needles prolong scenes as was in a coffin. I can’t memorize another director, where I with avid satisfaction watch long scenes as Sergio Leone in sixties. Duology Kill Bill swings from serious grey tones to absurd, which makes film strange, when after unusual talks see jumping on a sword a whitebeard man with big eyebrows. Tarantino must kept whole film in this style if he wanted to mention these Chinese flicks.

Maybe Cannes festivals and snobbish acclaim influenced on director, but his films haven’t smoothness since zeroes. No madness, which can see in cameo role in The Muppets’ Wizard of Oz. A collaboration project Grindhouse with Robert Rodriguez is succeeded esteem without plagiarism and with demonstration of individuality. Of course, Rodriguez’s Planet Terror prefers Tarantino’s Death Proof in excellent dialogs, extreme twists and excellent director’s creativity, which about that’s madness and where from elements of Grindhouse films director made a masterpiece and he was good again in Machete and perfect in Machete Kills. I like this director, who entered in one time with Tarantino, but he never stuck as artist. His first movie Mariachi is amateur and professional work and it makes attractable. I like his amateur decisions as repeat of three times of action or did professional in playing and singing on guitar in the bath scene. Tarantino in Death Proof has needless long conversations in first part of the movie, which director could better present, but that’s a well made film.

Lose interest to His films with a basement if watch original. Quel maledetto treno blindato translated from Italian as That’s damned armored train is a film of 1978, which was released as The Inglorious Bastards in the USA. After watching of it I totally disliked Tarantino’s Inglourious Basterds, where with all mentioned negative, it’s a very cheesy film. In a bar scene (which is well in whole.) I don’t like Nazi who easy guesses King Kong and Christoph Waltz, who is an excellent actor, whom discovered Tarantino, but I with hard looked on performance of his character as, for example, in overdramatized introduction scene, where he pointed a gun on running away Jewish girl. That’s damned armored train, Dirty Dozen, Guns of Navarone and Where Eagles Dare are films mentioned by Tarantino, have interesting characters, screenplays and everything else to be are great, when Inglourious Basterds without curious personages and the film was made pompous.

1969 was the answer on why I willn’t watch Once Upon a Time in Hollywood. A title looked one more director’s fantasy infirmity. Leonardo Di Caprio was damn spectacular in a trailer. He was teasing in villain performance in Django Unchained, but I hope to see him in Machete Kills Again… in Space as Rodriguez had it on mind.

Portraying of Bruce Lee Tarantino was using of a name of actual person whom acted a terrible actor. I know a lot of stories about Bruce Lee, which demonstrate that he wasn’t arrogant man who was liking to fight. He was evading it. On filming of “Enter the Dragon” one stuntman so much wanted to do one on one with him, but Bruce Lee was refusing many times until it tired. Witnesses were saying that stuntman haven’t a chance for reflection of attacks. What I saw in trailer isn’t kung fu for a start and enough for an end. Bruce Lee’s daughter Shannon Lee was precisely in definition on director in liking of kung fu films. Tarantino’s Bruce Lee speaks with deep Chinese accent, which should call Caricature Chinese. Bruce Lee was born in San Francisco, which with his parents left after three months age and moved to Hong Kong, which was under control of the Great Britain then. He had a perfect pronunciation in English and Chinese. That’s detail is impossible to miss if never listen his interviews. Everybody, who knew Bruce Lee, criticized Tarantino’s image, which was offensive for them.

I can’t reason on could or not Tarantino implemented genre films (I highly doubt that he left behind himself.), but I’ve learnt a film’s story and see that the director uses same own elements. A riddle of suitcase in Pulp Fiction in Once Upon a Time in Hollywood without answer here is “did Brad Pitt kill own wife or not?” and alternative history conclusion as in Inglourious Basterds, what in whole is a new degradation step for the director – own plagiarism.

Blood and Money

I can assure everybody – a demonstrated nature of Maine state in this film amazes. Forests covered of snow, where were chosen beautiful shots of landscapes and places as cave and living tide. Just only birches were evoking a depression, but with everything else I had full all right.

Blood and Money has a screenplay written by a weak scriptwriter, a novice director and cinematographer with a big list. These called duties were made by one person names John Barr. His portfolio precisely expresses personal skills. Barr kept camera in ten full-length movies and nine shorts, but it is a first time, when he wrote a script and took filming process under control. A composer Zak McNeil, who isn’t maestro, has a potential, which doesn’t work here.

That’s wood screenplay tells about experienced green hunter in brilliant performance of Tom Berenger with typical main character nuances as personal guilty for death of daughter and a thing, which brings to fatal destiny – a bloodcoughing. A reason of his behavior stay in riddle and explains in evergreen scriptwriter to whose work ask interrogation questions: “What was a reason for don’t report to police?” or “Why didn’t he use a vantage point for save a hunter?” Empty magazines is the best joke by him.

A slowly walking with a sick health, a little obesity and seniority always helps to run away from more active casino robbers. Tom Berenger’s personage doesn’t demonstrate skills against opponents and mentioned marine past is far from committing actions. He walks, swears and mentions Jesus. It goes until dry confrontation with one of villains. The story follows to this scheme. Director fails in creation of suspense, which becomes obvious from first sounds. This telling gets needless and senseless. What are you expecting when hear tension tunes to coming policeman behind of you? Of course, he will praise your car!

Blood and Money did for a small budget in 475,000 dollars for which could do a well sound work in a scene of beating by buttstock, because loud and unrealistic, and show a recoil in gun shooting.

I was recalling in time of watching Jeremiah Johnson, which is about survival in nature of the Wild West; The Hunter with Willem Dafoe and Surviving the Game about ex-marine, who hides from armed hunters in forests. Blood and Money is the film without discoveries and with a simple, unprofessionally written and predictable plot, where spectacular acts Tom Berenger in whose character see an ocean.

Sin City by Frank Miller.

 A very long time passed since I finally read and saw original graphic novels Sin City. A fail of the second film Sin City: A Dame to Kill For, which disappointed me in that overcast evening, was a clear reason to take Frank Miller’s books and especially discover unadapted stories, but after few years more I’ve finished with all of them (except with a collection of short stories “Booze, Broads and Bullets”, which I didn’t find in full.).

 “The Hard Goodbye”. I had adapted film in mind when was reading the first graphic novel, where following to the stories in details. A conversation Marv with his mother is one absenting episode in a movie, but that’s really needless. Sin City is unification of noir and neo-noir, where in narration of every protagonist often uses superior metaphors and where great dialogs can be between henchmen, which will die in few seconds. Under this great ambience tells excellent stories. A personal pleasure of graphic novels in excellent drawings, which also did by Frank Miller.

“A Dame to Kill For”. It was only a good story in Sin City 2, which differs from other two, because has a book background. So bad that Clive Owen wasn’t available for filming, what killed a charm of Dwight McCarthy. In meeting of Wallenquist with Ava Lord, a head of criminal organization demonstrates a dominance in conversation and talks straight on fail tries of interlocutor’s seducing in a graphic novel, when in the film they speak on equal positions and German likes her presence. I don’t like correction of this episode in Sin City 2 and also there a final shootout in a mansion, which was soulless staged and made brightly obvious a conclusion. That wasn’t in reading, which has everything what defines Sin City.

“The Big Fat Kill”. Films surpass graphic novels in demonstration of nude scenes, which always has a reason for appearance, when in original books Frank Miller exaggerates in them. Fortunately, exhibitionism doesn’t has a mass event as in any cheap TV series of HBO channel. “The Big Fat Kill” mentions Battle of Thermopylae about it Frank Miller will create 300, which I didn’t read, but saw a good entertainment film with screaming Gerard Butler. I’m thinking that detail about Spartans would be great for narration of Dwight McCarthy if it would be in the movie.

“That Yellow Bastard”. John Hartigan and his story was the most attracting when I was watching the adaptation. I like characters, who are different to my views and with whom I argue. A cop, who was sent in jail for justified job, empathies me of citizens of this rotten city. Hartigan’s personality and relations between him and Nancy Callahan, who could have an interesting story of revenge, but a crossbow, ruining chronology Marv and needless ghost presence of John with only nice monologue on hell are parts of failure. The film haven't presence of Roark in court episode and that's better for a plot.

“Family Values” is a story without magnificence of Sin City, which moves from point A to point B with a little stop for many pages devotion on few kills without surprise by boringly undefeatable Miho. She and Dwight McCarthy don’t disclose new in own personalities. Their goal is simple – a total annihilation of Sin City’s mafia. The protagonist would be better keeping mom in his narration in which Frank Miller didn’t succeed, what relates to a plot and dialogs to which I have few questions.

“Hell and Back” Miller returns to sweet word of protagonist’s narrating in introduced Wallace, a painter with excellent drawn guise and brilliant personal characteristics, which in one row with John Hartigan in attraction. He shares qualities with Miho, but she hasn’t vulnerability, what has Wallace. Fight of Marv and Manute was colliding of two bulky men, when Wallace against one-eyed Negro uses martial arts and savvy mind by which easy defeats opponent. I liked episode of how he spent his night in a jail. Hell and Back’s story was hyping until I saw losing of sense in actions, which sometimes were did for a twist. Hallucinating in colored pages is excellent as idea, but implementation doesn’t compare with the plot, which became weaker on this point, and Miller makes a mistake that in fantasies he demonstrates own tastes and personal works. A good narrating of the main characters doesn’t loses in contrast of the story.