Tagarchief: Double Bill

Double Bill #17: Kill Bill Vol. 1 & Kill Bill Vol. 2

Posted on by Jeppe Kleijngeld

After Jackie Brown, Tarantino took a long break (six years), but when he returned, he did so with a vengeance. If you’re going to compare a Tarantino movie, you compare it to every other movie ever made that wasn’t made by Quintin Tarantino. By that standard, the two-part Kill Bill saga stands among the finest pieces of cinematic art of the century so far. Here, Tarantino does what he does best – lifting fragments from forgotten genre and exploitation cinema and fusing them into something wholly original – better than ever before. It’s a double-edged sword in many ways: a bold blend of Eastern and Western influences, effortlessly shifting between comic-book ultraviolence and moments of genuine emotional weight. This tonal balance works largely thanks to Uma Thurman’s superb central performance as The Bride, which anchors the madness with real feeling. The story itself is simple, yet utterly captivating. The characters are fascinating and endlessly quotable. The style is unmistakable and unmatched. Volume 1 plays like the ultimate samurai/yakuza/action movie of your childhood – the one you could watch endlessly – only somehow even better. Volume 2, by contrast, leans into the rhythms of a spaghetti western, offering more of Tarantino’s signature dialogue and a terrific performance by David Carradine, who reimagines his Kung Fu character Kwai Chang Caine as a pop culture loving and psychopathic mentor. Structured in ten chapters and told out of chronological order, Kill Bill unfolds as a true epic, packed with all of Tarantino’s hallmarks: razor-sharp humor, wax-museum characters, stylized violence, brilliant music choices, and a Pussy Wagon–load of pop culture references. The only Double Bill I actually experienced in theaters – back when Volume 2 was released in 2004 – and one I’ll never forget. Whenever The Whole Bloody Affair finally arrives in European theaters, I will be there for sure.

Double Bill #16: The Punisher & Showdown in Little Tokyo

Posted on by Jeppe Kleijngeld

Okay, these are not the best movies I’ve ever reviewed for this section. Still, they’re classic actioners from my favorite movie era: the glorious nineties. What they have in common is Dolph Lundgren taking on the Yakuza. Both films also feature a torture scene, and in both cases Lundgren escapes in much the same way, before giving his torturer a taste of his own medicine. In The Punisher (1989, Mark Goldblatt), based on the Marvel comic, the presumed-dead cop Frank Castle hunts down members of the Franco crime family for the murder of his own family (he’s already killed 125). The Francos, led by Giovanni Franco (Jeroen Krabbé), are under pressure as well from a ruthless Yakuza clan eager to take over their territory. In Showdown in Little Tokyo, Lundgren’s cop is likewise driven by revenge for the murder of his parents. This time he teams up with L.A. cop Brandon Lee of the Asian Task Force, and together they take on a Yakuza faction known as Tetsu No Tsume, or the Iron Claw. Frankly, Lundgren and Lee were B-choice action stars of this period, and these films are unmistakably B-style entertainment. That said, the villains are very well done. Lady Kanaka (Kim Miyori) in The Punisher especially leaves a strong impression. Furthermore, the non-stop action and violence are delivered in generous doses. In the end, this Double Bill may not be prestige cinema, but it’s a solid blast of grimy, old-school ’90s action that knows exactly what it is and never pretends otherwise.

Double Bill #15: Taxi Driver & Bringing Out the Dead

Posted on by Jeppe Kleijngeld

In Scorsese’s oeuvre, this is the most obvious Double Bill together with Casino and GoodFellas. Taxi Driver and Bringing Out the Dead share a great deal in common. Both revolve around a driving protagonist who suffers from urban isolation in New York City while interacting with colleagues. Both were written by Paul Schrader, feature a dark atmosphere, and explore urban madness and crime. Visually, each film reflects the protagonist’s mental state within the cityscape – often through POV shots of grim street scenes. In both, the anti-hero is driven by a desire to save others, particularly women. Each also features a rapid-fire cameo by Scorsese himself (in Bringing Out the Dead, he’s the voice of the radio dispatcher). Both films include moments that likely exist only in the protagonist’s mind: Frank Pierce (Nicolas Cage) sees visions of ghosts and corpses on the streets, while Travis Bickle (Robert De Niro) probably imagines the entire ending of Taxi Driver. Of the two movies, Taxi Driver is obviously the masterpiece. It captures the transformation of this complex main character perfectly. From oddball, to radical, to killer. De Niro’s performance is deeply unsettling; he truly becomes Travis, and it shows. His voice-over beautifully conveys his descent into psychological darkness, and the lines have a raw, poetic quality. Shot on a low budget in a documentary style, the film has a gritty authenticity. Add Bernard Herrmann’s haunting score and the outstanding supporting cast (Jodie Foster, Peter Boyle, Harvey Keitel, and Cybill Shepherd), and you have a truly iconic classic on your hands. While Bringing Out the Dead never reaches that same status, it remains an underrated entry in Scorsese’s filmography. It vividly captures the stress and chaos of working as an ambulance driver, with striking imagery – like Frank literally lifting spirits in the city. Philosophically, it reflects on life and death in the modern metropolis and, unlike Taxi Driver, includes moments of humor (in Taxi Driver, the only joke is Travis taking his date to a porn movie). Viewed together, these films form a fascinating pair: after descending into the darkness of Taxi Driver, Bringing Out the Dead feels almost like a cathartic, even therapeutic, experience.

Double Bill #14: Yesterday & Nowhere Boy

Posted on by Jeppe Kleijngeld

For the ultimate Beatles movie experience, we’ll have to Wait until 2028, when Sam Mendes is set to release a series of four biopics – one for each Beatle. This promises to be a magnificent, once-in-a-lifetime cinematic event. Until then, there are already some great films out there that celebrate the legacy of the Greatest Band Ever. A perfect place to start is with this Double Bill, featuring two films inspired by Beatles’ songs – one named after a John Lennon track and the other after a Paul McCartney classic. Once you’ve enjoyed these two movies, Across the Universe (2007) is another highly recommended Beatles-inspired film. For a deeper dive into their early days, Backbeat (1994) dramatizes the band’s formative years in Hamburg. But back to this Double Bill: Nowhere Boy (2009) explores John Lennon’s troubled childhood. Raised by his strict aunt Mimi after his parents couldn’t – or wouldn’t – take care of him, the film delves into his complex relationship with his biological mother Julia, beautifully played by Anne-Marie Duff, alongside Kristin Scott Thomas as Mimi. It also highlights the origins of The Quarrymen, the band that would eventually evolve into the Beatles, and Lennon’s legendary first meeting with Paul McCartney. Aaron Johnson shines as the young Lennon, perfectly capturing his wit, imagination, and artistic genius. Having read Lennon’s biography, I feel this film authentically portrays his early life and character. Mendes’ upcoming film will likely draw inspiration from Nowhere Boy, especially in its portrayal of touching moments from the band’s early days, such as their first gigs and the tragic loss of John’s mother, Julia. Yesterday (2019) takes a more fantastical approach, blending comedy and romance with a unique premise: what if the world forgot the Beatles, except for one profoundly unsuccessful singer-songwriter called Jack Malik? Malik suddenly finds himself performing these forgotten classics and skyrocketing to fame. The film delivers plenty of laughs, with witty lines like “The White Album has some diversity issues” and “A Hard Day’s Night – what does that even mean?” But it also offers deeper, more poignant moments, including a memorable scene where Jack competes in a songwriting duel with Ed Sheeran. Perhaps the film’s most touching sequence is Jack’s encounter with John Lennon, who, in this alternate reality, never became a Beatle but instead lives quietly as a fisherman, much like his father once did. It’s a beautifully imagined moment, one that makes the film much more than just a fun, nostalgic ride. Ultimately, both Nowhere Boy and Yesterday share a common message: All you need is love… and The Beatles.