Tagarchief: Double Bill

Double Bill #18: Fargo & A Simple Plan

Posted on by Jeppe Kleijngeld

Few films share as much in common as Fargo and A Simple Plan. Both unfold in the snowy, desolate landscapes of Minnesota, steeped in an atmosphere that feels as bleak as it is gripping. Thematically, they explore the destructive power of greed – how a single, flawed decision can spiral into violence, ruin lives, and reveal the darkness lurking within ordinary people. The connection between the films extends beyond their themes. The Coen Brothers, directors of Fargo, and Sam Raimi, who helmed A Simple Plan, are longtime collaborators and friends. Both films are superb, but Fargo stands as a true masterpiece. Its razor-sharp original screenplay and unforgettable characters set it apart. The story centers on Jerry Lundegaard (William H. Macy), a pathetic and desperate car salesman who arranges the kidnapping of his own wife, hoping to extort ransom money from his wealthy father-in-law. When the sociopathic criminals he hires (Steve Buscemi and Peter Stormare) murder a state trooper and two witnesses, they draw the attention of the sharp, heavily pregnant Brainerd police chief Marge Gunderson – an Oscar-winning role from Frances McDormand. Nothing in Jerry’s plan goes right, and the consequences of his evil scheme are as brutal as they are inevitable. A Simple Plan follows a similarly grim trajectory. When three men stumble upon a crashed plane in the woods – containing a dead pilot and over four million dollars in cash – the seemingly level-headed Hank (Bill Paxton) agrees with his dim-witted brother Jacob (Billy Bob Thornton) and Jacob’s redneck friend Lou (Brent Briscoe) to hide the money until they can safely claim it. What starts as a simple scheme quickly unravels, forcing Hank into a series of horrific acts to protect their secret. Together, these films serve as chilling cautionary tales, illustrating how the pursuit of easy money can corrupt ordinary lives and destroy families.

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.