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  • Kill Bill: Vol. 1

    Kill Bill: Vol. 1



    With Kill Bill: Vol. 1 (2003), Quentin Tarantino seems to have singlehandedly coined and characterized the term, “badass.”

    I'm not a Tarantino fan, in general. In fact, I'm convinced this film was an accident. For the most part, Tarantino is the kind of filmmaker that's only interested in recording attractive things and feigning depth. He's not interested in thematic and emotional artistry. If Kill Bill was an accident, though, it's one of the greatest in cinematic history.…

  • Kill Bill: Vol. 2

    Kill Bill: Vol. 2



    Kill Bill: Vol. 2 (2004) lacks the innate draw of its counterpart, but it absolutely offers the satisfying conclusion desired following the thrilling arc that began in Kill Bill: Vol. 1 (2003).

    Vol. 2 is immediately more reserved than Vol. 1 in terms of stylistic extremity. Interestingly—considering the two were filmed together—there's a noticeable difference in their respective cinematography, an attribute which heavily influences the contrasting tone of the second half of the story to the first.…

Popular reviews

  • Hustlers




    For better or worse, Hustlers (2019) fulfills its pre-established expectation perfectly.

    The film certainly exists. Nipples are definitely flashed. A moral argument is absolutely posed (and rebutted). Lili Reinhart—the film's greatest draw, personally speaking—is on screen for ten minutes, collectively, at most. There are several pretty decent cinematic attributes showcased, I'll give it that. But no more than that.

  • Prisoners





    In this life, we are prisoners more-so to ourselves than to any other entity. How far dare we venture from our own humanity before allowing self-inflicted captivity to transform us into monsters? That's the question at work in Prisoners (2013).