Bloody as Hell with a Five-Dollar Shake: The Films of Quentin Tarantino

"This is the work of a salty dog. You can tell by the cleanliness of the carnage. Now a kill-crazy rampage though it may be, all the colors are kept within the lines."

Eccentric-cinephile-turned-celebrated-director Quentin Tarantino channels all of his love for cinema into his work, especially his adoration for disreputable genre pictures. Tarantino is often criticized for referencing and replicating the movies that inspire his films, yet his work in turn ultimately inspired an entire generation of filmmakers to unabashedly embrace their personal cinematic passions and obsessions for better or worse.

Watching any given Tarantino film, audiences may always expect to be subjected to unconventional story structure, wickedly sharp dialogue, delightful needle drops, hyper-stylized violence and, above all, a bloody good time. Thematically, Tarantino's films have evolved from elaborate crime dramas to explorations of historical subjects through a fervently embellished lens so fantastical as to entertain the notion that cinema can literally change history itself.

Vowing not to overstay his welcome and quit while he's ahead, Tarantino often claimed that he would retire after completing ten features. However, the mad auteur's ninth film may very well be his last.

Spider-Man: Far From Home

SPIDER-MAN: FAR FROM HOME
2019 | Dir. Jon Watts | 129 Minutes

"People need to believe, and nowadays they'll believe anything."

Nick Fury recruits Peter Parker to take part in a secret mission assisting an otherworldly stranger in his fight against an incredible threat, disrupting Peter's school trip touring Europe. Still grieving over the recent loss of his beloved mentor, Peter is reluctant to answer the call to action as he juggles his duo-identity as unassuming high school student and famous masked hero.

Taking on the unenviable task of following Avengers: Endgame and closing out a decade of Marvel Studios productions, on top of delivering a satisfying sequel to his well-received Spider-Man reboot, Jon Watts returns to the direct and hits it right out of the park. Spider-Man: Far From Home balances mildly raunchy teen comedy and high-flying superhero action while exploring hefty themes with skill and style. This sequel is centered around the inherent challenges of carrying on the legacy of the departed and the dubious veracity of information during uncertain times.

Taking a page from the very best Spider-Man stories, Peter Parker struggles with embracing the responsibility of being a hero, this time with the added pressure of having to fill the void left in Tony Stark's absence. Until the final act of the story, Peter dodges the public expectation for him to be the next Iron Man, much to the chagrin of an impatient Fury. Peter even concedes the role much too quickly when he makes his biggest mistake yet. Having shared with Peter the grief over losing Tony, a decidedly more sympathetic Happy Hogan helps Peter realize that no one expects him to be infallible because Tony certainly wasn't. However, it becomes apparent that many still bear a grudge against Tony for his fallibility.

Posthumously bringing the story of Tony Stark full circle, the primary antagonists of the picture are revealed to be disgruntled Stark Industries ex-employees, eager to fabricate and install their own hero to take Tony's place. In the aftermath of the cataclysmic and unpredictable events of Avengers: Infinity War and the years that followed, this band of purportedly downtrodden engineers take advantage of the seemingly constant state of widespread panic to construct a crisis and a champion that the vulnerable public is conditioned to accept. On top of the villains' sinister plot of false narratives and manufactured catastrophes, the script is full of jibes questioning the accuracy of online reports and broadcast news. Brilliantly fitting, the evil ringleader's final attack is the weaponized deployment of doctored video footage, more harmful than a physical attack against the hero.

The picture is one of the better looking Marvel Studios films, making good use of location shooting in Venice, Prague, and London. The visual effects behind several waking nightmare sequences during the back half of the film are magnificent, comparable and even besting some of the wilder, more surreal sequences from Doctor Strange. Michael Giacchino's musical score is some of his best work for Marvel Studios yet, further developing on his Spider-Man theme from Spider-Man: Homecoming as well as contributing an appropriately bombastic theme for Mysterio.

It's not difficult to make the case that Tom Holland is the best live-action Spider-Man. It helps that Marvel Studios' writers continue to provide him with inspiring material, with it he is able to showcase a broad and nuanced range of emotion, selling the physical comedy with panache and really delivering the touching moments when Peter is at his most helpless. Jake Gyllenhaal is an absolute pleasure playing the selfless would-be mentor-figure Quentin Beck, and he's even better after the fateful mid-point of the picture. As M.J., Zendaya's chemistry with Tom Holland is palpably adorkable, and she has some of the best lines accentuated by her natural delivery for dry humor.

The supporting cast features Jacob Batalon, Angourie Rice, and Tony Revolori reprising their roles as Peter's classmates Ned, Betty, and Flash, each with their fair share of funny moments. Martin Starr is joined by J.B. Smoove portraying Peter's bumbling amusingly clueless schoolteachers. Jon Favreau and Marisa Tomei appear briefly as Happy and Aunt May, sharing a budding romance that makes Peter hilariously uncomfortable. Samuel L. Jackson is reliably cool in his eleventh appearance as Fury, once again alongside Colbie Smulders as Fury's trusty confidant Maria Hill who is afforded her first truly awesome action beat since Captain America: The Winter Soldier. Remi Hii delivers a believable performance as Peter's insufferable square-jawed romantic rival.

With an excellent cast, affecting light-hearted comedy, and some truly spectacular visuals, Spider-Man: Far From Home is a worthy second installment in the Tom Holland Spider-Man film series, and a fitting coda for Marvel Studios' Infinity Saga. Clearly produced with as much love, style, and appreciation for the spirit of the source material as Spider-Man: Homecoming, the scope and spectacle is on a larger, much more impressive scale this time around.

MID-CREDITS STINGER
A breaking news report sourced from media personality and conspiracy nut J. Jonah Jameson broadcasts Quentin Beck's dying message to the world: doctored video footage framing Spider-Man for his crimes coupled with the revelation that Peter Parker is Spider-Man.


POST-CREDITS STINGER
Nick Fury and Maria Hill are revealed to be the Skrulls Talos and Soren in disguise. The couple notifies the real Nick Fury that they delivered Tony's glasses to Peter. Meanwhile, Fury directs a Skrull crew in a massive space station.


FRAGMENTS
- Jake Gyllenhaal was once briefly in the running to replace Tobey Maguire as Peter Parker in director Sam Raimi's Spider-Man 2

- The return of Iron Man executive producer Peter Billingsley as erstwhile Stark Industries scientist William, famously on the receiving end of Obadiah Stane's classic "Tony Stark was able to build this in a cave! With a box of scraps!" outburst, might be my favorite unexpected MCU callback so far

- Composer Michael Giacchino references Alan Silvestri's theme for The Avengers in two key scenes

- Happy cuing up AC/DC's "Back In Black" as Peter uses Tony's tools to create a new Spider-Man suit (and Peter misidentifying the song as a Led Zeppelin tune) is also a nice callback for MCU true believers

- J.K. Simmons reprises the role of J. Jonah Jameson, having previously appeared as the most vocal Spider-Man hater in the multiverse in Sam Raimi's Spider-Man film trilogy, and I couldn't be happier; he is the undisputed definitive J.J. Jameson after all


SUPPLEMENTAL STUFF
- Video: Donovan Mitchell (ESPN Spot)

Toy Story 4

TOY STORY 4
2019 | Dir. Josh Cooley | 100 Minutes

"He's not lost, not anymore."

During a family road trip, Woody embarks on a perilous mission to rescue Bonnie's new favorite toy and encounters an old friend experiencing life beyond his inherent sense of unwavering duty.

Full of heart and thematically rich, Toy Story 4 maintains the high storytelling standard set by the previous Toy Story films. Instead of manufacturing a rudimentary retread, the filmmakers crafted a sobering, though still exceptionally amusing, re-examination of the series' core themes of loyalty, the value of being loved, and the inevitable limits of unconditional love. While Toy Story 3 is a tale of rediscovering love, and accepting its ephemeral nature, the central narrative of Toy Story 4 is concerned with realizing and embracing personal value and agency over seeking validation from love. This deeply emotional journey is taken by stalwart series protagonist Woody.

The twitchy kindergarten craft creation Forky overcomes his urge to return to trash and accepts his importance to Bonnie as her favorite toy when Woody recounts his positive experiences with Andy. Antagonist pull-string doll Gabby Gabby, dedicating her existence to woo one specific child at the expense of anyone who gets in her way, attains a more enlightened perspective when she learns by Woody's example to offer her love to any child in need of it. Having completely let go of the need to be owned and loved by a child, Bo re-enters Woody's life as a self-assured heroic figure, thriving in her status as a lost toy, eager to explore the open world before her, presenting her favorite cowboy with a new and exciting life he had never considered before.

Tom Hanks turns in his finest voice work to date, playing Woody a little warier and a little less excitable. The patient dignified resignation in Hanks' interactions with Tony Hale's manic and naive Forky run in stark contrast to the constant antagonistic frustration prevalent in the early stages of Woody's relationship with Buzz. Treading the line between sweet and sinister, Christina Hendricks is perfect as Gabby Gabby, domineering, menacing, manipulative, vulnerable, and sympathetic all at once. Finally given a true role in the overarching narrative, Annie Potts is an absolute joy as the radically transformed Bo. Subtle choices in Potts' line delivery go a long way to suggest the porcelain figurine has been through a lot over the years so as it's not so hard to believe she is now more action star than love interest.

The movie is also incredibly funny thanks to some sharp writing and its fun cast. A running gag with Tim Allen's Buzz Lightyear literally taking guidance from his inner voice by repeated pushing his own buttons is hysterical. Acclaimed comedy duo Keegan-Michael Key and Jordan Peele are an inspired addition to the cast playing a pair of delusional stuffed animals. With a thematically appropriate (mildly) tragic backstory, Canadian stuntman toy Duke Caboom voiced by Keanu Reeves unequivocally steals the show.

Needless to say, the film is yet another unparalleled visual masterpiece from Pixar's animation geniuses. Despite its relatively smaller scope when compared to other films in the series, the primary antique store and fair grounds locations are full of life and meticulous artistry down to the most minuscule of details. Bo showing Woody her favorite place in the antique shop atop a high shelf with a clear view of the light refracting off all the chandeliers in the room is just one of the many standout moments.

Toy Story 4 is as entertaining and emotionally moving as one can expect from Pixar's top-tier productions. The unexpected magic of this sequel is in how naturally it resumes a journey that had seemingly reached the end of its cycle but, in retrospect, would feel incomplete without this installment. It is essential viewing for fans of the series, fans of the Pixar's brand of high quality animation, and anyone with an appreciation for good storytelling.


POST-CREDITS STINGER
Duke Caboom strikes several poses with the Pixar Animation Studios logo and delivers a long-awaited high-five


JOHN RATZENBERGER AS...
- Hamm the tech-savvy piggy bank


A113
- A vintage 1970s style A113 sign appears in the antique shop


PIXAR INTERCONNECTIVITY
- Numerous items featured in the antique shop reference various Pixar feature films and animated shorts including Tinny from Tin Toy, an Ernesto de la Cruz vinyl record (Coco), a Super 8 copy of Lifted, and a handkerchief with Wally B. stitched into it (Andre and Wally B.) among many others

- Bo's sheep discover the grape soda bottle cap from Up in the playground

- The Pizza Planet truck is tattooed on back of the carnival worker's leg


FRAGMENTS
- Incidentally, another film featuring a malicious child's doll, a remake of Child's Play, premiered the same week as this film

- Another film featuring an even creepier sentient doll, Annabelle Comes Home, premiered the following week

- Series regular Don Rickles passed away while the film was in pre-production; his dialogue for Mr. Potato Head was constructed using archival recordings with permission from his family

- Comedy legends Mel Brooks Carol Burnett, Betty White, and Carl Reiner provide the voices for Bonnie's old and forgotten baby toys residing in her closet

- Keanu Reeves' voice was previously featured with Key and Peele in the action comedy Keanu


SUPPLEMENTAL STUFF
- Video: Toy Story 4 "Teaser Trailer Reaction"


007 CONNECTIONS
- Timothy Dalton (James Bond in The Living Daylights and Licence to Kill)

Avengers: Endgame

AVENGERS: ENDGAME
2019 | Dir. Anthony and Joe Russo | 181 Minutes

"Everything's gonna work out exactly the way it's supposed to."

Heroes gather and attempt to undo the devastation that Thanos forced upon the entire universe.

Thematically, Avengers: Endgame is the story of heroes living through grief, coping with failure, and confronting the past in order to build a brighter the future. The film unfolds as three overstuffed acts that play like a trio of distinctly entertaining films. After a prologue that directly follows the events of Avengers: Infinity War, the first act proper is a deliberate but incredibly moving getting-the-band-back-together dramatic comedy exploring the variety of ways the heroes handle depression and the specter of failure. The second act is a thrilling high stakes multi-front mission that forces the heroes to confront their pasts directly. The film's third act delivers a sensational action extravaganza unlike anything ever successfully attempted before in a superhero movie. During this climatic battle to end all battles, nearly every hero gets their personalized moment to shine as they secure their future in the fight of their lives.

Despite the extended running time of just over three hours, the filmmakers do not offer a single shred of tangible exposition to the uninitiated, trusting that audiences for this picture did not choose to begin at the end. Its sprawling story draws upon every Marvel Studios film leading up to it, its funniest jokes and its most touching moments are completely dependent on the audience's familiarity with the previous movies. It also serves as the definitive final chapter for several members of the core team initially established in the first Avengers film, their stories concluding in fitting and poignant ways.

Robert Downey Jr. masterfully brings Tony Stark's character development over the last decade to the forefront, delivering Tony's signature wit and arrogance as it gives way to a palpable vulnerability. As a world-weary and more practical Steve Rogers, Chris Evans is better than ever personifying decency, optimism, and unyielding determination as the stalwart leader of the Avengers. Scarlett Johansson carries Natasha Romanoff's most complete dramatic arc yet with genuine emotional resonance, a repentant assassin desperately seeking absolution for past sins, a reformed killer who fully embraces her found family, particularly with her closest friend and comrade-in-arms Clint Barton. Jeremy Renner returns as a tougher, emotionally scarred Clint on a self-destructive quest for vengeance, fully utilizing his dramatic talent and action star experience. Mark Ruffalo is downright lovable playing a surprisingly new self-assured take on Bruce Banner. Also taking on a shockingly different approach to his character, Chris Hemsworth is equal parts hilarious and heartbreaking as a deeply broken Thor, remarkably human in how he deals with his sorrow.

Paul Rudd delivers his funniest and most dramatically moving work continuing to accentuate his strengths as a relatable comedic personality in the role of Scott Lang. Bradley Cooper returns to voice Rocket, sharing some of his best scenes with Hemsworth's Thor, carrying on their amusing rapport established in the previous Avengers film. Finally provided with a fully-formed character arc, Karen Gillan is magnificent as the emotionally distant cyborg killer Nebula learning to value what remains of her humanity. Though her screen time is limited, Brie Larson owns every moment that features Carol Danvers, exuding absolute confidence as the super-powered space hero. The film also features the return of Gwyneth Paltrow as Pepper Potts, Danai Gurira as Dora Milaje General Okoye, Tessa Thompson as Valkyrie, Taika Waititi as Korg, and numerous actors from past Marvel Studios films reprising their roles in surprise appearances.

Avengers: Endgame is the ultimate follow-up and conclusion to over twenty films spanning eleven years, delivering an overwhelming abundance of emotional fulfillment on top of mind-blowing spectacle. It is a lovingly-assembled grand finale, an unprecedented achievement for the superhero film genre, and an honest to goodness pop culture milestone, rewarding the loyalty of Marvel Cinematic Universe fans three thousand times over.


STAN LEE CAMEO
"Hey, man! Make love, not war!"


FRAGMENTS
- To maintain the secrecy of the film's plot, Robert Downey Jr. was the only cast member allowed to read a full copy of the script

- The heroes who vanished in Avengers: Infinity War are missing from the Marvel Studios logo following the cold open

- Alan Silvestri's musical score references Pinar Toprak's theme for Captain Marvel, Christophe Beck's theme for Ant-Man, and Michael Giacchino's theme for Doctor Strange

- Co-director Joe Russo and Thanos creator Jim Starlin make cameo appearances sharing a scene with Steve Rogers

- Several themes from Alan Silvestri's score for Captain America: The First Avenger are featured throughout the film

- Ken Jeong and Yvette Nicole Brown (Chang and Shirley on Dan Harmon's Community) make cameo appearances


SUPPLEMENTAL STUFF
- Video: Alan Silvestri "Totally Fine"

- Video: Alan Silvestri "Portals"


007 CONNECTIONS
- Dave Bautista (Mr. Hinx in Spectre)

Captain Marvel

CAPTAIN MARVEL
2019 | Dir. Anna Boden and Ryan Fleck | 124 Minutes

"I've been fighting with one arm tied behind my back, but what happens when I'm finally set free?"

While pursuing a group of shape-shifting enemy combatants, Vers, an interstellar warrior with the ability to channel limitless energy crash lands on Earth. After befriending awestruck SHIELD Agent Nick Fury, she discovers the truth about her past as US Air Force pilot Carol Danvers and the source of her extraordinary powers. With her newfound knowledge, Danvers changes the course of an intergalactic war.

Though Captain Marvel is essentially a superhero origin story, filmmakers Anna Boden and Ryan Fleck mostly forego standard pacing and narrative structure as the feature opens in the midst of a war between two alien races, providing limited exposition to the audience and presenting the Danvers' backstory in disjointed fragments. The beginning of her adventure on Earth is entertaining but slightly meandering as Danvers chases vague leads with an unclear connection to both her enemies and her past. However, by the midway point of the film, when the real stakes are revealed, the story rewardingly comes into razor-sharp focus, running parallel to Danvers' journey in rediscovering her genuine memories, regaining her sense of identity, and truly realizing her potential that had always been actively suppressed by others.

Captain Marvel primarily takes place on Earth in 1995, and Boden and Fleck use the period setting well enough, dressing the production with fun, only occasionally distracting nostalgic details by way of decade-specific background props - my favorite is naturally a Street Fighter II: Champion Edition arcade cabinet sitting in a bar, sound effects - Nintendo Game Boy and dial-up modem beeps and bloops, and choice needle drops - most notably No Doubt's "Just A Girl" in a key fight scene and Hole's "Celebrity Skin" to close out of the film. Though the sight of Carol Danvers radiating with cosmic energy is magnificently glorious, the most impressive visual effect is the miraculous digital de-aging of iconic veteran actor Samuel L. Jackson, somehow so natural that it never becomes jarring.

Perfectly cast in the lead role, Brie Larson exudes playful humor and unflappable confidence as Carol Danvers, imbuing the title character with unique charm and charisma. Samuel L. Jackson reprises the role of Nick Fury with an entirely fresh approach, presenting a previously unseen, less jaded side of the SHIELD agent that can still be surprised and impressed by the mysteries of the universe. The dynamic between Laron's cool and composed Danvers and Jackson's constantly astounded Fury lifts the film, leaning into buddy cop action comedy tropes in the best way possible. The heart of the story is the unbreakable friendship betweeb Danvers and fellow Air Force pilot Maria Rambeau played by Lashana Lynch, and the love they share with Rambeau's doting daughter Monica portrayed adorably by eleven-year-old actress Akira Akbar. Lynch and Akbar do an excellent job of providing emotional weight and authenticity to Danvers' journey. Lynch is particularly convincing in conveying the initial confusion and heartbreak upon Danvers' unexpected return to Earth after being told by the military for over half a decade that her friend had perished in a failed test flight.

Film villain extraordinaire Ben Mendelsohn is surprisingly hilarious as the Skrull commander Talos, delightfully fleshing out the role especially during the back half of the story as the character takes a unexpected turn. Conversely, Jude Law plays no-nonsense Kree Starforce leader Yon-Rogg with a stoicism that is appropriately frustrating. In a dual role, Annette Bening shows of her versatility playing both the Kree Empire's computerized leader (as it appears to Danvers) and Danvers' inspirational mentor Dr. Wendy Lawson (who hides a secret of her own). Absolutely stealing the show is Goose, an unsuspecting feline with an alarming secret played by four different cats: Reggie, Archie, Rizzo and Gonzo. The film also features Gemma Chan, Algenis Pérez Soto, and Rune Temte as members of Starforce. After an extended absence, Clark Gregg makes a welcome return as Phil Coulson, also impressively digitally de-aged like his senior SHIELD colleague. Seemingly returning for posterity, and somehow making even less of an impact than in their Guardians of the Galaxy debut, Djimon Hounsou and Lee Pace reprise the roles of Korath (a member of Starforce in the past) and Ronan the Accuser (still a sociopathic extremist but just sightly less).

Marvel Studios properly introduces their most powerful hero in an entertaining blend of space opera and 1990s buddy cop comedy. At its center, Captain Marvel is an inspirational story of realized potential finally unburdened by limitations unjustly set by others. Though it works within the trappings of a superhero origin story, there is an abundance of humor and several exciting twists that keep it thoroughly engaging. For existing fans, it is a worthy addition to the Marvel Studios canon that provides new context for previous installments and sets its sights toward a brilliant future.


MID-CREDITS STINGER
Dir. Anthony and Joe Russo
After debating over what to do about Nick Fury's pager that has suddenly become inactive, the Avengers meet Carol Danvers.


POST-CREDITS STINGER
Goose regurgitates the Tesseract on Nick Fury's desk.


STAN LEE CAMEO
While riding the subway, Stan the Man rehearses lines for his cameo appearance in Kevin Smith's Mallrats.


FRAGMENTS
- In memory of Stan Lee, the Marvel Studios logo that opens the film exclusively features images of Stan Lee and clips of his various cameo appearances from the Marvel Studios films

- Goose is named after Nick "Goose" Bradshaw from Top Gun; in the original Marvel Comics, the character is known as Chewie, named after Chewbacca from the Star Wars films

- Marvel Studios security director Barry Curtis makes a cameo appearance as a strip mall security officer

- Brie Larson and Samuel L. Jackson previously appeared together in Kong: Skull Island

- During Stan Lee's cameo appearance, Pinar Toprak's musical score subtly references the Marvel Studios Fanfare composed by Michael Giacchino

- Acclaimed Captain Marvel comic book writer Kelly Sue DeConnick makes a cameo appearance as a commuter in a Los Angeles subway station

- As Monica and Danvers select new colors for Danvers' uniform, they cycle through tbe color schemes of past Marvel Comics incarnations of Captain Marvel and Ms. Marvel: black, red, and gold; black and gold; and green and white

- Alan Silvestri's theme for The Avengers plays as Nick Fury decides to name name his initiative to gather enahanced heroes to protect Earth after Carol Danvers' aviator call sign


SUPPLEMENTAL STUFF
- Website: Captain Marvel | Trailer & Official Movie Site (1990s Style)

- Video: Pinar Toprak "Captain Marvel"


007 CONNECTIONS
- Lashana Lynch (Nomi in No Time To Die)