“Who makes movies like this? And why aren’t more movies like this? Like Tarantino’s direction itself—stylish, cool, tight, but also relaxed, taking its time, in profile close-up, to show Ordell thinking, or Robert De Niro’s hilarious but deadly Louis, trying to figure out the phone, or Bridget Fonda’s stoner beach bunny sweetness mixed with amusingly acerbic shit talking, or Michael Keaton’s ATF agent chomping his gum, a little bit of a douchebag but not a terrible guy. There’s also the fantastic soundtrack adding heft and emotion to actors already doing the same. All of this surrounding Pam Grier who is, in a word, complex.” Kim Morgan’s notes for Jackie Brown are almost as much a (deserved) love letter to Pam Grier as the film itself. Via David Hudson.
“We don’t see Rio in prison, but we see how it changes him. He starts out as a carefree young bandit who perches on the counter during a bank holdup eating bananas and playfully weighing the peels on a scale, then steals a woman’s ring and uses it in his attempted seduction of an aristocratic señorita. After his time in the pen, though he still sports rakish scarves and a dazzling scarlet poncho, he has become sullen and withdrawn, brooding obsessively on revenge. When he finds his old partner in the coast town of Monterey, now a respectable sheriff with a family, he mirrors Dad’s hypocrisy, pretending to accept his lie about what happened while scheming to destroy everything he has. “A man can’t stay angry for five years, can he?” Rio asks with a wickedly disingenuous grin. Ask Ethan Edwards in The Searchers about that.” Imogen Sara Smith’s essay on One-Eyed Jacks begins by tracing the lineage of films that married the shadowed terrors of noir with the sunbaked vistas and haunted men’s-men of the western.