"Shoot 'em Tanto!"
I recall, the sound design being so immersive (in Dolby Atmos!!) I had looked back thinking someone yelled that in the theater.
Ridley pulls the same fake-out hand-dismemberment in Alien: Covenant. Interesting.
As much as I’ve disliked this over the years, it has somehow always drawn me back - first saw this when I was like ten. Seems like a precursor to the pessimistic Ridley of today (The Counselor, Alien: Covenant, All the Money in the World), which is a big plus for me. Once Hannibal gets to America, sorta feels like a second movie started all of a sudden, but it’s…
Curtis is great, the rest of the cast likable and fun - romance-novel writing LL Cool J is my favorite - lots of fake-out jump-scares that further get you into Laurie’s mindset. Not the best Michael, but a moment struck me right after Laurie bonks him on the head, she runs away and he just sort of routinely rises back up. Pretty good.
Was gonna see Tenet tonight but theater was closed so had to settle for this. Well, this is utter stupidity, with Sandman being the greatest human there ever was, a stupid voice, he’s easily spooked by anything, has a Swiss-Army Thermos, is pined for by his high school crush, has Sandman’s buddies. Idk, I enjoyed it.
Next to Revenge of the Fallen, maybe the most abstract thing Bay’s ever done. So frenetic in its’ endless barrage of images, surpasses even Armageddon & Bad Boys II. Very happy to have experienced the Bayhem in a mostly empty theater with some sick Dolby - the THX-intro that Reynolds refers to in the film actually played beforehand, which added to the gag later. During that opening twenty-minutes of insanity, I couldn’t stop tapping my foot. By the time the Directed by-credit popped-up, I realized the shameless fat smile I had across my face for two-hours straight. 6 Underground is the most rollicking theatrical experience I’ve had this year.
Tarantino’s personal print of the film started with a trailer for Natural Born Killers, which really set the mood. What is there to say? Tony Scott’s godly aesthetic ability compliments QT’s world of romanticized violence brilliantly, at times even feverishly - as in my favorite sequence of the movie, when Slater faces-off with Oldman. The tension builds and builds through the back and forth about egg-rolls and breasts on tv, Oldman so over-the-top and Slater’s naive, sneaky confidence slowly…