![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
aunt_zelda Now while I know a bit about this movie from geek pop culture osmosis, I’ve never actually seen it. Until today.
This was written in my usual fashion, as I watched I would think of something to write, pause the movie, and type it up. Hence I am unaware of outcomes of plotlines early on in my comments. I did some minor editing after I'd finished, but not much.
We begin in an unexpected manner. Well, at least unexpected for me. I was expecting Samuel L. Jackson, John Travolta, Uma Thurman, some chick’s feet, or maybe an old song.
But nope, we start with Cal Lightman and a woman with a very strange voice and red hair who reminds me of Squeaky Fromme more than anything else doing what criminals do in Tarantino movies: chatting in a humorous fashion.
(I know he wasn’t Cal Lightman back then, but he’s Cal Lightman to me now, and holy fuck do I have the hots for that man. I mean jeez, stop reading this right now and watch Lie to Me. You will not be disappointed. It’s a clever, well-written show and depicts a short Englishman acting either domineering and sexy or cowering from big bad men and being sexy. It’s sexy. Also there’s an episode where Felicia Day shows up and sings randomly.)
Anyhoodle, they get coffee from someone who looks like Kate Lockley (*spittake* … *goes to imdb.com* Oh wait, she’s not Kate Lockley, I’m sorry) and decide to rob the diner they’re sitting in. They make out at the revelation of armed robbery and oh my, I seem to have a Bonnie and Clyde kink. It’s probably just my Tim Roth fetish, to be honest. Good god, I have a Thing for that man. If I’d known he was in this movie I’d have picked it up last summer.
After the obligatory long and nicely-soundtracked credit sequence, we open to … oh my lord what is up with their hair? Oh god. Oh no. Why is it that Samuel L. Jackson has such bad luck with hair in Tarantino films? That ponytail and chin-braid in Jackie Brown and now … this … *shakes head*
Anyways, Travolta – and his icky Snape hairdo – chats with Samuel L. Jackson – and his curly mess – about the legality of pot in Europe, and then comes the infamous chat about different names for fast food in Europe that Sir Terry Pratchett paid homage to in The Truth.
Samuel L. Jackson explaining TV pilots was really fun. He’s got the banter-thing down pat.
When they’re waiting for the elevator I Notice John Travolta’s ass. I’m not the kind of person who notices butts, I’m more of a hands-girl, but the combination of the camera angle and the way Travolta is cocking his hips got me staring.
“He gave her a foot massage.” You fools! That’s like sex in Tarantino movies! Travolta understand that, but Samuel L. Jackson is extremely skeptical. Travolta waxes poetical about it as the camera drifts slightly from side to side, and Jackson admits that it’s an interesting point.
Travolta and Jackson enter the apartment of three young, skinny, scared guys. The pair swiftly establish themselves as The Ones With the Status in the Scene, Jackson eating the lead kid’s food and Travolta circling around and messing in their kitchenette. Subtle, clever, and awesome. Tarantino is the Man.
Travolta finds and opens the Infamous Briefcase. It glows with an orangey-gold light, like gold in cartoons.
Then things get Intense. Jackson shoots the guy on the couch, flips over a table, and intimidates poor Bret in a badass and awesome manner. “ENGLISH, MOTHERFUCKER, DO YOU SPEAK IT?!” it uttered. “Marsellus Wallace don’t like to be fucked by anybody except Mrs. Wallace.” Hee. Hee-hee. This is followed by the infamous Bible-quoting bit. It’s pretty badass. I like the subtle parts of it, like Vincent pulling out his gun and fidgeting in impatience, and the orange flashes during the shots.
Tarantino really has a thing for title cards, doesn’t he? I wish more movies did that. I enjoy them a lot. Heroes was going to do that originally.
… *sobs*
Heroes! *sobs*
…
So, Bruce Willis. Bruce Willis getting a speech about how his life is pretty much over and getting paid off to throw a fight by a man with gold earrings, a band-aid on his neck, and whose face we don’t see.
Vincent and Jackson enter the bar in shorts and baggy t-shirts. I guess their Nice Suits are for Killing Time, and these outfits are for Down Time. Vincent is annoyed that the bartender and Jackson seem to be in on some kind of joke about how Vincent will be taking out Marsellus’s wife Mia for a few days while Marsellus is out of town.
I think this is why Vincent tries to pick a fight with Bruce Willis when Bruce Willis steps up to the bar, but who knows. Bruce seems confuzzled by a slobby-looking John Travolta attempting to pick a fight with him who then going over to get huggled by Marsellus.
Later we get a discussion of piercings with two grungy looking chicks, one of whom is lauding how awesome piercings are and how she’s got fifteen all over. Huh. You know, in ninth grade I really wanted an eyebrow piercing, but my mother wouldn’t let me. First time I ever got truly teenager-angry with my mother.
Vincent purchases drugs from the pierced-lady’s husband. It’s a very well-shot scene. Then we’re treated to a scene of him driving around, hazy-eyed, and flashbacks to him shooting up. Eeeeew. Needles are creeeeepy.
Mia messes with Vincent via an intercom, watching him on the house’s security cameras and giving us a good look at her lovely red lips. Mmmmmmmmmm. Mia does lines of coke (I think it’s coke … I’m not the person to talk to when it comes to drugs) while Vincent gets himself a drink and generally looks uncomfortable.
Ah, there we are! The camera follows Mia’s bare feet through the apartment. A full 34 minutes into the movie before a shot of a woman’s bare feet! Wow!
Mia traces a ‘square’ in the air that actually shows up before bursting out of existence. Huh. I … honestly have no idea.
The inside of the restaurant is … weird. Just plain weird. Men dressed like Zorro serve food. The whole thing is decorated 50’s vintage. People eat under gigantic silver umbrellas, or in old cars. Is it the characters who are high, or the director?
I find Mia looks a hundred times sexier than The Bride. Just for the record. Her voice is sexier, too. Uma Thurman is odd for me, sometimes I find her fantastic; sometimes I find her bland and unappealing.
Ok, somebody needs to make Fox Force Five. I would watch the HELL outta that show. Does Tarantino ever make tv shows? Think of all the LesYay!
Vincent and Mia share joints and a milkshake. Oh dear. Dude, you’re gonna get thrown out a window by Marsellus’s guys! Oh, wait, you ARE Marsellus’s guys. Um … does that make this a consensual thing on Marsellus’s part? I’m confused!
I could really go for a milkshake right about now … hmmm … maybe I’ll make myself one today. I’ve got ice cream in the house. I’ve got milk. I’ve got a blender. I’ve got fruit. I’m gonna make myself a milkshake later.
Vincent and Mia appear to be having sex without actually touching each other or doing anything really sexual. Or maybe I’m just seeing intense intimacy where there is none. I dunno. She mouths around a cherry. It’s distracting. I mean, it’s really distracting. Especially the bit where some of her saliva trails on it. UNF.
They dance. It’s awesome. Her feet are bare. His are in socks. They win the contest. I don’t quite know what’s going on here, but I like it.
Mia dancing around and singing along to a song in her house is … really nice. I am heartily enjoying this movie for all the wrong reasons, namely: Uma Thurman looking kinda like Velma Kelly, dancing around and being awesome. Could this have a happy ending where she, Vincent, and Marsellus have awesome threeways together? Please?
I mean, this lady is encompassing so many of my personal tastes: woman in a suit, woman in a baggy jacket, dark hair, beautiful lips, likes to dance, can dance well, can dance crazy, is super confident … mmmmhhhhhmmmm …
Oh, ew. Then she ODs. That’s … really not sexy. It’s gross as heck.
The sequence that follows is great, though. Especially the bit in the living room where everybody crowds around and fights about how to give an adrenaline shot and where and who and stuff. Tarantino at his best.
Oh. The Infamous Watch Scene. (Which I saw in the Nostalgia Critic’s Christopher Walken video.) … WTF? I mean, WTF?
Oh lordy. A morbid, sexy foreign lady with red lips. Yet another of my weaknesses brought to the screen by Tarantino! (And she drives her cab barefoot. Oh Tarantino …)
There’s something oddly appealing about big Bruce Willis spooning, cuddling, and having sex with a tiny curvy Frenchwoman. I can’t explain it. This movie is fucking hot.
“Any time of day is a good day for pie!” I concur, sexy Frenchlady, I concur!
Bruce loosing his shit over the watch was terrifying. But he didn’t hit sexy Frenchlady. He calmed down and didn’t blame her and realized that it’s his fault, not hers. Still scary, but he’s not a bad person. Yet.
The sequence in the apartment is really good. Scary, sudden, brief: as it should have been.
Oh my, the car and car-crash and shooting sequence was just brilliant. Especially the realization between Marsellus and Bruce Willis.
Oh noes. Of all the pawnshops in the world they had to stumble into one run by a crazy psychopath with a serial-killer basement and ballgags. I don’t know if this is funny, scary, awesome, horrible, or all of the above.
“Wake up the Gimp?”
…
What.
What is going on here? Make up your mind, Tarantino! What?! What? What? What kind of movie is this turning into? What? Where were we? What just happened?! You can’t cater to EVERY fetish I have, can you? … Oh eeeeeeew, I’m not into THAT, you got so close, and then you MISSED! Missed by a MILE! Euuuuuugh!
“Which one you wanna do first?”
“I don’t know.”
*pause*
“Eenie, meenie …”
Me: *sporfleDIEZ*
(For the record, I find their behavior highly disturbing for a number of reasons. The fact that one’s a police officer, the fact that they do this with enough regularity that they’ve set up a room and have a method, the fact that they keep a man locked up in a cage for long periods of time in a bodysuit – which is VERY dangerous for a number of reasons – and the fact that they’ve never been caught, which implies that not only do they kill their victims, they hide the bodies very well. Great. I was hoping for fetish fuel, and I got nightmare fuel instead. Thanks, Tarantino, thanks a bunch.)
Oh, Bruce Willis is a good man as well as a badass. He goes back to save Marsellus. I love the sequence of him choosing a weapon, first a hammer, then a baseball bat, then a chainsaw … and then he spots A KATANA. I’m surprised Tarantino didn’t put in a heavenly choir or something. Bruce Willis has a Katana: shit is gonna hit the FAN!!!
“Imma get Medieval on your ass!” Oh, so THAT’S where that line comes from! Context is a bitch.
I love how Bruce Willis is reflexively covering his manparts during that scene. I don’t know why, I just find that amusing for some reason.
What is it about horrible rapists in Tarantino films getting their rides jacked by the protagonists due to identifying keychains?
Oh my, the scene from the apartment is finally concluded. Weird. More memes. Moving on.
Y hello thar Quentin Tarantino Cameo!
Ooooo, I like this Wolf guy. I like him a lot. He’s awesome.
Jimmy and the Wolf seem to enjoy hosing down naked hitmen way too much.
I wanna follow Raquel the Junkyard Body-Disposal Lady. She deserves her own movie. It’d be so cool.
What is the obsession with breakfast in this movie?
“I’m just gonna walk the Earth.” *sporfles*
Oh my … oh my, this interlocks with the Tim Roth and Crazy Redhead plotline! *SQUEE* They do indeed rob the diner, waving their guns around, and Tim Roth shouts and threatens the manager with his gun. And it’s oh so sexy.
Then, then Tim Roth wants what’s in the Case. He sees what’s in the case and says “Is that what I think it is?” and “It’s beautiful.” Whatever it is, it glows orangey-gold. I’m going with ‘cartoon gold treasure.’
Oh, then Samuel L. Jackson grabs Tim Roth and points a gun in his face and alfdjaflkjalfjalfjalfjaklfjaklfjalfjaklfjaklf!!!
*takes a couple minutes to calm down*
It’s … Tim Roth … all … fluffy-haired and … nommy … and GUNS … and *swoons* (What can I say? I’m easy to please.)
Oh, hey, there’s the Infamous Wallet.
Goodness, that was a great last scene, the great speech, Tim Roth’s lovely face, Tim Roth and Crazy Redhead leaving, and then the slow walk in those ridiculous outfits, tucking away their guns, and walking out.
I think that this is a movie I’ll have to watch a couple more times to fully appreciate. Loads of eye-candy, great dialogue, nice camera work and lovely lighting … yeah, awesome.
This was written in my usual fashion, as I watched I would think of something to write, pause the movie, and type it up. Hence I am unaware of outcomes of plotlines early on in my comments. I did some minor editing after I'd finished, but not much.
We begin in an unexpected manner. Well, at least unexpected for me. I was expecting Samuel L. Jackson, John Travolta, Uma Thurman, some chick’s feet, or maybe an old song.
But nope, we start with Cal Lightman and a woman with a very strange voice and red hair who reminds me of Squeaky Fromme more than anything else doing what criminals do in Tarantino movies: chatting in a humorous fashion.
(I know he wasn’t Cal Lightman back then, but he’s Cal Lightman to me now, and holy fuck do I have the hots for that man. I mean jeez, stop reading this right now and watch Lie to Me. You will not be disappointed. It’s a clever, well-written show and depicts a short Englishman acting either domineering and sexy or cowering from big bad men and being sexy. It’s sexy. Also there’s an episode where Felicia Day shows up and sings randomly.)
Anyhoodle, they get coffee from someone who looks like Kate Lockley (*spittake* … *goes to imdb.com* Oh wait, she’s not Kate Lockley, I’m sorry) and decide to rob the diner they’re sitting in. They make out at the revelation of armed robbery and oh my, I seem to have a Bonnie and Clyde kink. It’s probably just my Tim Roth fetish, to be honest. Good god, I have a Thing for that man. If I’d known he was in this movie I’d have picked it up last summer.
After the obligatory long and nicely-soundtracked credit sequence, we open to … oh my lord what is up with their hair? Oh god. Oh no. Why is it that Samuel L. Jackson has such bad luck with hair in Tarantino films? That ponytail and chin-braid in Jackie Brown and now … this … *shakes head*
Anyways, Travolta – and his icky Snape hairdo – chats with Samuel L. Jackson – and his curly mess – about the legality of pot in Europe, and then comes the infamous chat about different names for fast food in Europe that Sir Terry Pratchett paid homage to in The Truth.
Samuel L. Jackson explaining TV pilots was really fun. He’s got the banter-thing down pat.
When they’re waiting for the elevator I Notice John Travolta’s ass. I’m not the kind of person who notices butts, I’m more of a hands-girl, but the combination of the camera angle and the way Travolta is cocking his hips got me staring.
“He gave her a foot massage.” You fools! That’s like sex in Tarantino movies! Travolta understand that, but Samuel L. Jackson is extremely skeptical. Travolta waxes poetical about it as the camera drifts slightly from side to side, and Jackson admits that it’s an interesting point.
Travolta and Jackson enter the apartment of three young, skinny, scared guys. The pair swiftly establish themselves as The Ones With the Status in the Scene, Jackson eating the lead kid’s food and Travolta circling around and messing in their kitchenette. Subtle, clever, and awesome. Tarantino is the Man.
Travolta finds and opens the Infamous Briefcase. It glows with an orangey-gold light, like gold in cartoons.
Then things get Intense. Jackson shoots the guy on the couch, flips over a table, and intimidates poor Bret in a badass and awesome manner. “ENGLISH, MOTHERFUCKER, DO YOU SPEAK IT?!” it uttered. “Marsellus Wallace don’t like to be fucked by anybody except Mrs. Wallace.” Hee. Hee-hee. This is followed by the infamous Bible-quoting bit. It’s pretty badass. I like the subtle parts of it, like Vincent pulling out his gun and fidgeting in impatience, and the orange flashes during the shots.
Tarantino really has a thing for title cards, doesn’t he? I wish more movies did that. I enjoy them a lot. Heroes was going to do that originally.
… *sobs*
Heroes! *sobs*
…
So, Bruce Willis. Bruce Willis getting a speech about how his life is pretty much over and getting paid off to throw a fight by a man with gold earrings, a band-aid on his neck, and whose face we don’t see.
Vincent and Jackson enter the bar in shorts and baggy t-shirts. I guess their Nice Suits are for Killing Time, and these outfits are for Down Time. Vincent is annoyed that the bartender and Jackson seem to be in on some kind of joke about how Vincent will be taking out Marsellus’s wife Mia for a few days while Marsellus is out of town.
I think this is why Vincent tries to pick a fight with Bruce Willis when Bruce Willis steps up to the bar, but who knows. Bruce seems confuzzled by a slobby-looking John Travolta attempting to pick a fight with him who then going over to get huggled by Marsellus.
Later we get a discussion of piercings with two grungy looking chicks, one of whom is lauding how awesome piercings are and how she’s got fifteen all over. Huh. You know, in ninth grade I really wanted an eyebrow piercing, but my mother wouldn’t let me. First time I ever got truly teenager-angry with my mother.
Vincent purchases drugs from the pierced-lady’s husband. It’s a very well-shot scene. Then we’re treated to a scene of him driving around, hazy-eyed, and flashbacks to him shooting up. Eeeeew. Needles are creeeeepy.
Mia messes with Vincent via an intercom, watching him on the house’s security cameras and giving us a good look at her lovely red lips. Mmmmmmmmmm. Mia does lines of coke (I think it’s coke … I’m not the person to talk to when it comes to drugs) while Vincent gets himself a drink and generally looks uncomfortable.
Ah, there we are! The camera follows Mia’s bare feet through the apartment. A full 34 minutes into the movie before a shot of a woman’s bare feet! Wow!
Mia traces a ‘square’ in the air that actually shows up before bursting out of existence. Huh. I … honestly have no idea.
The inside of the restaurant is … weird. Just plain weird. Men dressed like Zorro serve food. The whole thing is decorated 50’s vintage. People eat under gigantic silver umbrellas, or in old cars. Is it the characters who are high, or the director?
I find Mia looks a hundred times sexier than The Bride. Just for the record. Her voice is sexier, too. Uma Thurman is odd for me, sometimes I find her fantastic; sometimes I find her bland and unappealing.
Ok, somebody needs to make Fox Force Five. I would watch the HELL outta that show. Does Tarantino ever make tv shows? Think of all the LesYay!
Vincent and Mia share joints and a milkshake. Oh dear. Dude, you’re gonna get thrown out a window by Marsellus’s guys! Oh, wait, you ARE Marsellus’s guys. Um … does that make this a consensual thing on Marsellus’s part? I’m confused!
I could really go for a milkshake right about now … hmmm … maybe I’ll make myself one today. I’ve got ice cream in the house. I’ve got milk. I’ve got a blender. I’ve got fruit. I’m gonna make myself a milkshake later.
Vincent and Mia appear to be having sex without actually touching each other or doing anything really sexual. Or maybe I’m just seeing intense intimacy where there is none. I dunno. She mouths around a cherry. It’s distracting. I mean, it’s really distracting. Especially the bit where some of her saliva trails on it. UNF.
They dance. It’s awesome. Her feet are bare. His are in socks. They win the contest. I don’t quite know what’s going on here, but I like it.
Mia dancing around and singing along to a song in her house is … really nice. I am heartily enjoying this movie for all the wrong reasons, namely: Uma Thurman looking kinda like Velma Kelly, dancing around and being awesome. Could this have a happy ending where she, Vincent, and Marsellus have awesome threeways together? Please?
I mean, this lady is encompassing so many of my personal tastes: woman in a suit, woman in a baggy jacket, dark hair, beautiful lips, likes to dance, can dance well, can dance crazy, is super confident … mmmmhhhhhmmmm …
Oh, ew. Then she ODs. That’s … really not sexy. It’s gross as heck.
The sequence that follows is great, though. Especially the bit in the living room where everybody crowds around and fights about how to give an adrenaline shot and where and who and stuff. Tarantino at his best.
Oh. The Infamous Watch Scene. (Which I saw in the Nostalgia Critic’s Christopher Walken video.) … WTF? I mean, WTF?
Oh lordy. A morbid, sexy foreign lady with red lips. Yet another of my weaknesses brought to the screen by Tarantino! (And she drives her cab barefoot. Oh Tarantino …)
There’s something oddly appealing about big Bruce Willis spooning, cuddling, and having sex with a tiny curvy Frenchwoman. I can’t explain it. This movie is fucking hot.
“Any time of day is a good day for pie!” I concur, sexy Frenchlady, I concur!
Bruce loosing his shit over the watch was terrifying. But he didn’t hit sexy Frenchlady. He calmed down and didn’t blame her and realized that it’s his fault, not hers. Still scary, but he’s not a bad person. Yet.
The sequence in the apartment is really good. Scary, sudden, brief: as it should have been.
Oh my, the car and car-crash and shooting sequence was just brilliant. Especially the realization between Marsellus and Bruce Willis.
Oh noes. Of all the pawnshops in the world they had to stumble into one run by a crazy psychopath with a serial-killer basement and ballgags. I don’t know if this is funny, scary, awesome, horrible, or all of the above.
“Wake up the Gimp?”
…
What.
What is going on here? Make up your mind, Tarantino! What?! What? What? What kind of movie is this turning into? What? Where were we? What just happened?! You can’t cater to EVERY fetish I have, can you? … Oh eeeeeeew, I’m not into THAT, you got so close, and then you MISSED! Missed by a MILE! Euuuuuugh!
“Which one you wanna do first?”
“I don’t know.”
*pause*
“Eenie, meenie …”
Me: *sporfleDIEZ*
(For the record, I find their behavior highly disturbing for a number of reasons. The fact that one’s a police officer, the fact that they do this with enough regularity that they’ve set up a room and have a method, the fact that they keep a man locked up in a cage for long periods of time in a bodysuit – which is VERY dangerous for a number of reasons – and the fact that they’ve never been caught, which implies that not only do they kill their victims, they hide the bodies very well. Great. I was hoping for fetish fuel, and I got nightmare fuel instead. Thanks, Tarantino, thanks a bunch.)
Oh, Bruce Willis is a good man as well as a badass. He goes back to save Marsellus. I love the sequence of him choosing a weapon, first a hammer, then a baseball bat, then a chainsaw … and then he spots A KATANA. I’m surprised Tarantino didn’t put in a heavenly choir or something. Bruce Willis has a Katana: shit is gonna hit the FAN!!!
“Imma get Medieval on your ass!” Oh, so THAT’S where that line comes from! Context is a bitch.
I love how Bruce Willis is reflexively covering his manparts during that scene. I don’t know why, I just find that amusing for some reason.
What is it about horrible rapists in Tarantino films getting their rides jacked by the protagonists due to identifying keychains?
Oh my, the scene from the apartment is finally concluded. Weird. More memes. Moving on.
Y hello thar Quentin Tarantino Cameo!
Ooooo, I like this Wolf guy. I like him a lot. He’s awesome.
Jimmy and the Wolf seem to enjoy hosing down naked hitmen way too much.
I wanna follow Raquel the Junkyard Body-Disposal Lady. She deserves her own movie. It’d be so cool.
What is the obsession with breakfast in this movie?
“I’m just gonna walk the Earth.” *sporfles*
Oh my … oh my, this interlocks with the Tim Roth and Crazy Redhead plotline! *SQUEE* They do indeed rob the diner, waving their guns around, and Tim Roth shouts and threatens the manager with his gun. And it’s oh so sexy.
Then, then Tim Roth wants what’s in the Case. He sees what’s in the case and says “Is that what I think it is?” and “It’s beautiful.” Whatever it is, it glows orangey-gold. I’m going with ‘cartoon gold treasure.’
Oh, then Samuel L. Jackson grabs Tim Roth and points a gun in his face and alfdjaflkjalfjalfjalfjaklfjaklfjalfjaklfjaklf!!!
*takes a couple minutes to calm down*
It’s … Tim Roth … all … fluffy-haired and … nommy … and GUNS … and *swoons* (What can I say? I’m easy to please.)
Oh, hey, there’s the Infamous Wallet.
Goodness, that was a great last scene, the great speech, Tim Roth’s lovely face, Tim Roth and Crazy Redhead leaving, and then the slow walk in those ridiculous outfits, tucking away their guns, and walking out.
I think that this is a movie I’ll have to watch a couple more times to fully appreciate. Loads of eye-candy, great dialogue, nice camera work and lovely lighting … yeah, awesome.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2011-06-13 05:45 am (UTC)