Um…I lost my husband and my beeper…have you seen either one of them?
I’m not crazy about this film overall, but there are still so many things about it I love.
I wish Prometheus had just been an entire film of this. And by this, I mean Fassbender wandering around alone doing things like pouring liquids and dying his hair and playing basketball.
Quentin Tarantino is finally making Kill Bill Vol. III Tarantino revealed he wants part 3 to take place 10 years after the events of Kill Bill Vol.2, presumably so that Vernita Green’s daughter (Nikki) can be old enough to track down The Bride (Uma Thurman/Black Mamba) to get revenge for killing her mother right in front of her. Vernita Green (portrayed by Vivica A. Fox), A.K.A. Copperhead, was a member of the Deadly Viper Assassination Squad. She took part in the massacre at the Two Pines Wedding Chapel. She was second on The Bride’s “Death List Five.” Four years after the massacre she is living a normal life in Pasadena, Ca. under the alias of Jeanie Bell. She was trained in hand-to-hand combat and knife fighting, and it is hinted that she and The Bride shared a mutual, professional respect for each other. At the start of the first movie, they engage in a vicious fight, destroying Vernita’s living room in the process. However, Green’s four-year-old daughter Nikki arrives home in the middle of the fight, and they stop fighting since the Bride doesn’t want to kill Vernita in front of her young daughter. Green sends Nikki to her room and she talks with the Bride over coffee, apologizing for betraying her and asking for mercy on behalf of her family. The Bride coldly refuses and they agree to meet in the middle of the night to have a knife fight. However, Vernita betrays her promise, and tries to shoot the Bride with a handgun concealed within a cereal box (aptly named Kaboom). She misses and the Bride throws a knife into her heart, killing her. Her death is witnessed by Nikki which the Bride had not intended. The Bride tells Nikki, “When you grow up, if you still feel raw about it, I’ll be waiting.” Well, looks like Copperhead’s daughter (secretly trained by the eye-patch wearing Elle, who we learn didn’t actually die in that trailer) is going to attempt to exact a bloody revenge! Oh, and let’s not forget that The Bride also had a four year old daughter. I have a feeling that these lil b*tches are going to be going at it H.A.M.!
“WHEN YOU GROW UP, IF YOU STILL FEEL RAW ABOUT IT, I’LL BE WAITING.”
Fuck yes. At least Tarantino is dependable to deliver dope shit as promised. Unlike my dad (SNIFF SNIFF).
Jean Renoir, lookin’ kinda cute.
In one swift motion Hardy drops the mag and spins a full 90 degrees. We’re now inches apart. Nose-to-nose. As if the elongated S-shaped sofa we’re sharing has coiled violently, forcing us to invade each other’s personal space. “I really don’t appreciate you asking me a question like that,” Hardy growls. His fierce, penetrating eyes are fixed in an unblinking stare. “Have you ever had a near-death experience?” he asks.
“I’m speaking from experiential hindsight and I can tell you it’s not something to be taken lightly. If you want to talk to me about death you’ve got to come from that place. It’s like asking someone, ‘How many people have you killed?’ You understand what I’m saying?”
Sensing Hardy is on the verge of cutting the interview short (or something worse) LWLies extends an olive branch, making it absolutely clear we’re not here to unsettle or antagonise him. He sits back, takes a moment to collect himself and gestures for a change of subject. But almost immediately Hardy jolts forward again. “I’m sorry, man… You’ve just touched on a spot that’s very sensitive. You have no idea how close to something I am right now in my personal life. No fucking idea. It’s not your fault, I understand that, but you’ve really struck a nerve.
“I don’t want you to get the wrong impression of me,” he continues, “I don’t want you thinking I’m a dick. Genuinely, that question, what it evokes, is very close to home right now. Those photos just really freaked the shit out of me. At the moment I’m very close to some shit that you’re touching on that’s very, very serious. You’ve pushed a massive button in me and I’m just not really in a place to talk about what’s going on right now. I wish I could get into it with you, but this ain’t the time or the place. Death is a very serious reality to me.”
Holy Hell, do I love Ultimate Spider-Man and Brian Michael Bendis.
Illustrated by David Marquez
Oh mother! Godfrey loves me! He put me in the shower.
One of my favorite movies of all time.
The individual covers for the three films in Pasolini’s Trilogy Of Life box set, from Criterion.
Pasolini weaves together stories from Giovanni Boccaccio’s fourteenth-century moral tales in this picturesque free-for-all. The Decameron explores the delectations and dark corners of an earlier and, as the filmmaker saw it, less compromised time.
Eight of Geoffrey Chaucer’s lusty tales come to life on-screen in Pasolini’s gutsy and delirious The Canterbury Tales, which was shot in England and offers a remarkably earthy re-creation of the medieval era.
Pasolini traveled to Africa, India, and the Middle East to realize this ambitious cinematic treatment of a handful of the stories from the legendary The Thousand and One Nights.
- New high-definition digital restorations of all three films, with uncompressed monaural soundtracks on the Blu-ray editions
- New visual essays by film scholars Patrick Rumble and Tony Rayns on The Decameron and Arabian Nights, respectively
- New interviews with art director Dante Ferretti and composer Ennio Morricone about their work with Pasolini, and with film scholar Sam Rohdie on The Canterbury Tales
- The Lost Body of Alibech (2005), a forty-five-minute documentary by Roberto Chiesi about a lost sequence from The Decameron
- The Secret Humiliation of Chaucer (2006), a forty-seven-minute documentary by Chiesi about The Canterbury Tales
- Via Pasolini, a documentary in which Pasolini discusses his views on language, film, and modern society
- Pier Paolo Pasolini and the Form of the City (1974), a sixteen-minute documentary by Pasolini and Paolo Burnatto about the ancient Italian cities Orte and Sabaudia
- Deleted scenes from Arabian Nights, with transcriptions of pages from the original script
- Pasolini-approved English-dubbed track for The Canterbury Tales
- New English subtitle translations
- PLUS: A booklet featuring essays by critic Colin MacCabe; Pasolini’s 1975 article “Trilogy of Life Rejected”; excerpts from Pasolini’s Berlin Film Festival press conference for The Canterbury Tales; and a report from the set of Arabian Nights by critic Gideon Bachmann