A former member of an all female martial arts assassination squad is ready to retire and start life anew, but not if ex-employer, Bill has anything to do with it. He has her assassinated on her wedding (along with the all guests and the groom). Years latter she wakes from a coma with a katana-sword in her hand and revenge on her mind. Billed as a blackly-comic homage to cult-cinema of the past, the references and come so thick and fast that the movie is practicably made of them, however it won't take an observant viewer, unblinded by fanatical Tarantino fandome, to realize that this is really an homage to QT himself more than anything else. Pretentiously self-indulgent and not much fun as a result. Even the well-renown fight scenes are really mundane at best. Those unfamiliar with the films being referenced will be astonished, but those who grow up on Wuxia epics, samurai dramas and Shaw Bros productions will be left scratching their heads wondering what all the fuss is about. Due to the film's excessive length, it was split into two separate movies for it's theatrical release, resulting in a 'Vol. 2'
Wall Street is a cunningly complex film. The screenplay is amazing, the acting is powerful (particularly the on-screen tension between Sheen and Douglas), and the direction (of renowned Oliver Stone) is perfect. Taut, intelligent movies don't get much better than this, folks.
Being a fan of Chevy Chase for many years I found his (much more restrained)comedic style perfectly suited to John Carpenter's transistion from horror director to fantasy-thriller-maker. Working with a much bigger budget than before and being steered by Warners, Carpenter avoids the sluggish pace and the dark brooding widescreen cinematography of his 80's flicks - instead relying on brighter scenery, chunkier dialogue, wide-open spaces, reverent performances and some decent special effects. This is all a plus for Carpenter and Chase, but for the viewer, it's just another thick-brained and silly fanatasy about an invisible man who tries to outrun the CIA while falling in love with the evervescent Daryl Hannah.
Blade Runner never clamours for your attention. It dazzles, but not with bombast. There are space ships and shoot-outs, but they are there to establish the tone more than to drive the plot.