Beautiful photography by French photographer Cedric Delsaux where he recreates the scenes of Star Wars characters and vehicles with urban wasteland background. The characters are actually model toys superimposed on to shots of Parisian architecture to create the illusion. Cedric Delsaux is an award winner in the newcomer’s France Bourse du Talent competition which stands for Young Talent Award for Photography.
9 more pics of Cedric Delsaux urban Star Wars after the jump.Read More
Who’s the most badass all human superhero in comic books? Yeahh, the Batman! He’s only got his ultra high tech armor and gadgets, and fights crime with his bare hands! We all love the caped crusader and seeing some badass illustrations of him in all his glory only makes us want one more movie!
And I don’t really have nothing more to say, but I really recommend all of you to visit each artist’s page for more great work! And when I say great work, I mean that. These guys rock! I hope you like it. Cheers! 😉
Pencils by Joe Ng, Colors by Adam Vehige
Pencils by mbreitweiser, Colors by Elizabeth dismang
Pencils by Andie Tong, Colors by Jeremy Roberts
Erik Von Lehmann
Pencils by Tom Schloendorn, Colors by beretta92
Pencils by Francis Manapul, Colors by Jeremy Roberts
Marcelo Di Chiara
Pencils by Jennyson Rosero, Colors by artmunki
Pencils by Caanan White, Colors by John-Paul BoveRead More
Movies love to kill people, and actors love to die (preferably slowly and with a great close-up). Yet, more often than not, film fatalities are an accountant’s errand. Just another tally mark in the body count. This isn’t a list celebrating the art of ludicrous squibs and exploding craniums. The following movie deaths deliver more oomph than henchmen #4 getting steamrolled by the Oscar Mayer Weinermobile.
These are the death scenes we remember long after the actors have screamed, slobbered, cried, coughed, wheezed, or drawn out to William Shatner-esque lengths their final words. They are a perfect combination of acting, writing, film making, image and idea. Some are shocking. Some are sad or bittersweet. Others funny. Some deaths you cheer on. All are memorable.
Let’s begin to experience ten (technically eleven) great ends, and considering the nature of this list, yes, there are spoilers, and if you haven’t seen some of these movies you have some NetFlixing to do.
10. David Carradine walks it out in Kill Bill Vol. 2
When the film’s name is Kill Bill, it’s likely Bill won’t be standing come end credits. And when it takes two films to reach the promised death, it damn well better be memorable.
Quentin Tarantino’s ultimate achievement in Kill Bill isn’t the fantastic sword play, but how he twists a straightforward revenge tale into a subversive, poignant love story during the movie’s final scenes. We expect an action-packed finale between Uma Thurman’s Bride and David Carradine’s Bill. However, Tarantino delivers a climax pivoting on emotional conflict in lieu of bloody, drawn-out combat. Yes, we know Bill must die. He had it coming. Yet, Carradine saunters Bill out to his death with such dignity and warmth, we can’t help but feel for the murderous SOB.
9. Henry Fonda eats a harmonica in Once Upon a Time in the West
So your movie depicts a particularly nasty villain. Guess what? That bastard needs to die (hard). But for the hero to simply kill the baddie isn’t good enough. A quick sucker death for a film’s main evildoer never satisfies an audience’s bloodlust, and I am thirsty. Before the villain departs (hopefully in agonizing pain), he needs to realize the hero has bested him.
Sergio Leone’s Once Upon a Time in the West pulls off this ego-crushing deathblow to perfection. Not only does Henry Fonda’s family-snuffing villain suffer a slow, gut-oozing demise after losing a duel to Charles Bronson’s Man with No Name, Bronson finalizes his revenge with a symbolic gesture that shuffles Fonda off his mortal coil in utter humiliation.
8. Slim Pickens gets nuked in Dr. Strangelove and Bob Dylan-ized in Pat Garrett and Billy the Kid
This is my two-for-one cheat. We all know the scene from Dr. Strangelove in which Slim Pickens cheerfully bull-rides a nuke to the apocalypse. It’s iconic. And it’d be a major mistake to leave it off this list. Yet, as far as I’m concerned Slim Pickens owns two brilliant death scenes in cinematic history.
The second and more obscure one (not to mention, the death that inspired me to compile this list) comes from Sam Peckinpah’s Pat Garrett and Billy the Kid. Slim Pickens has a minor role as a sheriff helping Garrett search for the Kid. During a shootout he takes a bullet to the stomach. Yeah so what’s the big deal? Cue Bob Dylan’s “Knocking on Heaven’s Door,” drop in the eerie setting sun, and the subtle range of emotion Pickens displays as he sits on a river bank dying while his wife mourns in the background. Peckinpah made a career off killing characters in violent, yet visually beautiful ways. Few were as haunting as this scene.
7. Wallace Shawn doesn’t laugh it off in The Princess Bride
It’s THE great scene within a film chock-full of great scenes. The premise is simple. Wallace Shawn must choose between two cups of wine, one of which is said to be poisoned. He picks his cup and his opponent drinks the other. One dies. The battle of the wits has begun. What follows is a gut-busting monologue by Shawn that, well, let’s say over-thinking it is an understatement for his thought process.
The dialogue, tortured logic, the arrogance, the sneaky moves, and that laugh which suddenly falls silent creates one of the most pitch-perfect comedic scenes ever conceived.
6. Marlon Brando absorbs a machete in Apocalypse Now
Much has been written of Francis Ford Coppola’s inability to find an ending for his Vietnam War update of Joseph Conrad’s “Heart of Darkness.” Yet, it’s hard to imagine a more fitting conclusion to Coppola’s vision of insanity than Martin Sheen slaughtering Marlon Brando as The Doors’ “The End” boils over the soundtrack, all leading to Brando’s enigmatic last words: “The horror… the horror.”
Sometimes improvisation is the gate key to brilliance. It’s a death scene searing with beautiful, yet frustrating poetic madness.
5. John Hurt births a Xenomorph in Alien
Oh, what I’d give to have seen the alien bursting from John Hurt’s chest with an audience in 1979. I’m sure the unsuspecting audience members, jumped, shrieked, and occasionally threw up (yep, those are the type of viewing experiences I crave).
Almost anyone who catches Alien for the first time these days already knows of the infamous dinner scene in which an innocent-sounding cough ends with everyone splattered in blood. The scene’s shock value brought it notoriety. Yet, it’s the sickening, grisly idea of a toothy, penis-shaped beast suddenly blowing your chest inside out that gives power to the scene long after the surprise has worn off.
4. Faye Dunaway and Warren Beatty fight the law and the law wins in Bonnie and Clyde
Before Bonnie and Clyde, most movie characters who fell victim to lead poisoning grabbed their chest and fell over. No blood. Not even a tear in their clothes. They might as well have died from a heart attack. Nor did you really ever see a gun fire and the bullet hit the human target within the same frame. Then came Bonnie and Clyde and all of sudden the shit got real. The film smacked audiences with the harsh consequences from pulling a trigger. Movie gunfights were no longer constrained to the same bloodless histrionics of children playing army in the woods. Bonnie and Clyde‘s violence — extraordinarily controversial at the time — changed the Hollywood’s depiction of violence. Without it, there would be no Wild Bunch or Dirty Harry or Die Hard. However, even 40 years later, the film’s climax, in which the law shreds the titular bank robbers in a thunderstorm of bullets, remains as visceral and savage as anything seen in today’s hard-R flicks.
3. Janet Leigh showers with a knife in Psycho
There isn’t a frame of film showing a knife blade break Janet Leigh’s flesh. Nor do you see any real T ‘n’ A. Yet, viewers think they see it all.
The 45-second shower murder in Psycho is one of those film moments when editing, music, performance, and cinematography merge in perfect unison to accomplish what film was invented to do: To get into your head and make you believe in things that don’t exist. Was Norman Bates real? No. Were the chances likely that you’d meet a knife in the shower? Definitely, not. Yet, several audience members in the ’60s feared taking showers after witnessing the butchery of Leigh. I can’t imagine a higher compliment for a filmmaker.
2. King Kong can’t fly in King Kong
Personally, I prefer everything in Peter Jackson’s King Kong over the original film, including the Empire State Building swan dive (yes, I’m sure that makes me all sorts of horrible things to film snobs). Yet, it’d be plain-ass wrong to place Jackson’s remake on this list instead of the original. After all, directors Merian C. Cooper and Ernest B. Schoedsack and stop-motion animator Willis O’Brien created one of cinema’s most iconic images: An overgrown monkey swatting planes on the top of a skyscraper before tumbling to the streets. However, Willis deserves extra credit. With clay, rubber, metal, and fur he managed to evoke a sense of wonder and tragedy from an inanimate doll.
1. Margaret Hamilton takes a steam bath in The Wizard of Oz
The Wicked Witch of the West’s fatal comeuppance is simply the most famous, quoted, referenced, parodied death scene in pop-culture history. The scene is so omnipresent it invisibly permeates everyday life, such as mundane conversation (“Can’t go out in the rain today, don’t want to melt”). But why? Part of its brilliance lies in its unexpected simplicity: H2O kills… evil (that was also the witch-slaying tool in L. Frank Baum’s book). But, movies are full of elegant ways to die. Yet few do it with such bravado as The Wizard of Oz. The film delivers a fantastic demise for one of the all-time great villains — clever, original, colorful, grotesque, well-acted, and 100% satisfying in that you feel the bitch got what she deserved. You can’t ask for anything more when it comes to death on the big screen.Read More
By now there can’t be too many people on the planet who haven’t at least heard of Harry Potter. Based on the worldwide box office, there are even fewer who have yet to see one of the movies based on J.K. Rowling’s series of books chronicling the adolescence of the young wizard. The latest film in the series, Harry Potter and the Half-Blood Prince (directed by David Yates) is set to open worldwide on July 15 and promises to be a much darker Potter adventure than its predecessors. Hopefully, this makes for a more engaging film than previous offerings and is more along the lines of Harry Potter and the Prisoner of Azkaban (the best film in the series – at least to date).
Now, don’t get us wrong, there are plenty of things that work in the series (for example, the actors and actresses in the series have proven to be absolutely incredible and have done an incredible job in realizing their characters), but the films have lacked the emotional depth and enthralling plots that surfaced in the third film. With Harry finding himself in a far darker place than ever before in Half-Blood Prince, the possibilities of dramatic character growth and an engaging storyline has us wildly excited. So, we thought this might be a golden opportunity to revisit the previous films in the series as we eagerly await the new adventure featuring Harry, Ron, and Hermione. So, join us as we board the Hogwarts Express from Platform 9¾ and revisit the first five Harry Potter films.
The much-anticipated screen adaptation of J.K. Rowling’s first book about the Dickensian orphan, who discovers his wizardly legacy, didn’t disappoint its legions of ready-made fans. Director Chris Columbus remained painstakingly faithful to the book, although the film sometimes lacks any real personality of its own. This may have been intentional as it never detracts from the outstanding production and captivating storytelling. But the real triumph of the film (and perhaps the entire series) is the casting of Harry (Daniel Radcliffe) and his friends Hermione Granger (Emma Watson) and Ron Weasley (Rupert Grint). The rest of the stellar all-Brit cast is fun to watch, and the stunning special effects are what you’d expect given a $125-million budget and the use of no less than nine effects houses. Even those not familiar with the books will find it hard not to enjoy the film’s many charms (though they may find it a bit too long).
The action-packed sequel tops its predecessor with less exposition and more adventure as Harry and his friends at Hogwarts try to figure out just what is terrorizing the school (here’s a hint, it has something to do with He Who Must Not Be Named). In his second year at school, the young wizard re-teams with cohorts Ron and Hermione to brave new dangers posed by the Chamber of Secrets, which lies somewhere within the halls of the school. Everything about this outing is bigger and better, including a delightfully expanded, labyrinthine Hogwarts. Sometimes over-the-top thrills may be a lot for younger viewers. This film is also notable as the final installment directed by series stalwart Columbus. It is also the last of the by-the-book recreations of Rowling’s original.
In his sixth year at Hogwarts, Harry learns more about Voldemort’s past with help from mentor Dumbledore as they search for objects known as Horcruxes that hold the key to finally defeating Voldemort. Harry also finds a mysterious potions book that was the property of someone called the Half-Blood Prince and begins using some dangerous new spells. Love also finds its way into Harry’s life when he develops feelings for his best friend Ron’s sister, Ginny. This is the darkest story in the series so far and hopefully returning director Yates delivers a gripping film that proves an exciting prelude to the final chapter in the saga Harry Potter and the Deathly Hallows (which has been wisely broken into two parts and is set to be released in 2010 and 2011 respectively).
Nicolas Cage’s new movie Knowing is once again putting a fictional New York in the path of destruction. Check out our review here. Being one of the most iconic cities in the world means that Manhattan is ripe for filmmakers looking to make a visceral impact. After all, what could be more gasp-inducing than torching the Empire State Building? Or flooding Grand Central Station? Or stomping all over the Brooklyn Bridge? New York has always been a prime target for disaster, and even after real disasters have toppled some of its towers, filmmakers still can’t stay away.
20. Independence Day (1996)
Despite some geographical inaccuracy (the Empire State Building does not straddle an North-South street), serial New York–abuser Roland Emmerich certainly makes his point anyway. When the hovering alien spacecraft get the “go” sign, Gregory Johnson’s iconic design gets lit up like a Roman candle, and Manhattan learns the hard way that not all tourists want to pose for pictures in Times Square and catch a matinee of Legally Blonde.
19. The Day After Tomorrow (2004)
Emmerich again. This time, severe changes in the Earth’s climate cause New York to get flooded like a cheap Chevy, and then frozen solid. Why this also causes giant werewolves to appear is cause for debate (we choose the “bad CGI” argument), but this was one circumstance where New Yorkers actually would have preferred the snow turn to a slushy gray muck like it usually does ten seconds after a blizzard.
18. Godzilla (1998)
OK, Emmerich, we get it. You like to see New York decimated. Fine. This time, the German director unleashes a giant lizard in the city so nice they named it twice, and a great many recognizable landmarks suffer as a result. We’re not sure if that ending. Godzilla is finally stopped by the criss-crossing cables of the Brooklyn Bridge was meant to be a subtle joke for Manhattanites who equate moving to Brooklyn with death, but we like to think it is, anyway.
17. Men in Black II (2002)
To think, the MIBs spend so much time covering their tracks and erasing memories and yet, if you told the average N.Y. commuter that giant, subway-car-sized space slugs lived in the tunnels, they probably wouldn’t bat an eye. They have seen far more disturbing things inside a subway car. MIB2 is relatively gentle on the big city, though, and even its predecessor saved most of its destructiveness for Queens where, let’s be honest, no one’s really going to notice.
16. Superman II (1980)
When Tim Burton made Batman’s Gotham City, he made it so that it didn’t resemble any other city the audience knew of (well, maybe some areas of Berlin). Richard Donner, however, wanted people to buy his location as “Metropolis” even though THE EMPIRE STATE BUILDING is sticking up right in the middle of midtown. That’s like painting wings on an elephant and calling it an eagle. When Supes throws down with General Zod and his flunkies, there’s no mistaking that it’s Times Square feeling the brunt of the super-fisticuffs.
15. Q (1982)
It’s an old New York joke that you can tell who the tourists are because they are the only ones looking up. New Yorkers don’t need to gawk at their skyscrapers, making Q’s conceit that a giant winged serpent could nest atop the Empire State Building without anyone noticing until it starts eating people utterly believable. Hindered by 1982 special effects, the movie opts for “mystery” over large-scale carnage, but thinking of monumental buildings as home to man-eating monstrosities is disturbing enough.
14. When Worlds Collide (1951)
Before Roland Emmerich got the notion to turn Manhattan’s cavernous streets into a log flume, legendary sci-fi producer George Pal busted out the miniatures and the garden hose in When Worlds Collide. The tale of a rogue planet on a collision course with Earth (see? The title isn’t a metaphor), the end is not a pleasant one for New York. It gets flooded with enough seawater to drown everything save the cockroaches.
13. Deep Impact (1998)
Before Roland Emmerich got the notion to turn Manhattan’s cavernous streets into a log flume, but after George Pal did the exact same thing, director Mimi Leder…aw, forget it. Meteor. Hits earth. New York floods. Let’s move on.
12. The Warriors (1979)
Not all destruction has to be an extinction-level event. In The Warriors, the Big Apple is rotting from the inside — the generally good, hard-working, no-nonsense New Yorkers who are the city’s heart and soul have been chased to the periphery and replaced by elaborately-dressed and ultra-violent gangs. These clown-faced crooks have the run of the entire island (and the surrounding boroughs), and civilians are hardly seen at all, which leads to the chilling conclusion that unless you pick a clan, you’re pretty much a walking ghost.
11. Planet of the Apes (1968)
After all the hunting, capturing, escaping, and laying on of stinking paws, Charlton Heston wanders down a desolate stretch of beach to discover…the Statue of Liberty! All this time, he’s been among ape-men who have built a civilization on the ruins of what was once New York. Well, OK, it could have been New Jersey. But still — we blew it up! Damn us all to hell!
10. Escape from New York (1981)
In dystopian thriller, New York’s crime rate gets so uncontrollably bad the U.S. government decides to simply wall it up and let it exist as a giant prison. While this scenario doesn’t look too kindly on New York, the film’s production doesn’t look too kindly on another city: East St. Louis. Unable to find a N.Y. location suitably burned-out, run-down, and pathetic enough to convince as a city-prison, Carpenter had to film nearly all of Escape’s exteriors in the sad sack Illinois city.
9. The Siege (1998)
Taking a much more grounded tact that some of the other films listed here, The Siege preyed on our worst real life fears — rampant terror attacks in major cities — several years before 9/11, and showed us a devastated Manhattan under martial law. It kind of makes giant lizards and supervillains seem kind of cozy and safe, doesn’t it?
8. 2019: After the Fall of New York (1983)
An Italian cheapie knock-off of Escape from New York, 2019 envisions a nuclear-decimated New York inhabited by radioactive freaks and monsters. Luckily for the filmmakers, the “post-apocalypse” setting allowed for much of the action to take place in nondescript parking lots and empty patched of desert, rather than, say, having to hire the manpower to shut down large portions of Fifth Avenue. All the saved money is on the screen, folks.
7. Ghostbusters (1984)/Ghostbusters 2 (1989)
Look, having the world’s only paranormal janitors based in Tribeca is bound to bring some undesirables into your neighborhood. First, large sections of the Upper West Side get stomped on (and ultimately covered in charred marshmallow), then a river of slime underneath the city streets conjure up a vengeful spirit from the past. The Ghostbusters‘ means of disposal may not be tidy — they wreck as much of Manhattan as the ghoulies — but at least they do something. Nobody steps on a church in their town.
6. Armageddon (1998)
might have gone the hackneyed “New York landmark destruction” route, but give him some credit for at least picking two slightly lesser-used landmarks. In illustrating a meteor showers’ path of destruction, Bay shows the Chrysler Building and Grand Central Station getting torn apart by hunks of space rock in addition to several taxi cabs near a “53rd Street Station,” which is in that trendy N.Y. neighborhood known as “Obvious Studio Backlot.”
5. King Kong (2005)
Forget Mel Brooks, a thousand chorus dancers, or a Stephen Sondheim song — remember the simple days when all you needed to open on Broadway was a big ape in chains? Once Kong got out, however, things go very bad for 1930s Times Square. Cars are thrown, buildings crushed, and Central Park’s frozen ponds subject to inhuman levels of sentimentality. The Empire State Building, despite being the location for the final showdown, gets by with a few dings and scratches. The streets below, however…
4. A.I.: Artificial Intelligence (2001)
Like Emmerich’s The Day After Tomorrow, the Earth’s fragile ecosystem is to blame for New York’s eventual flooding and destruction — but unlike Emmerich, Steven Spielberg only shows us the aftermath, not the disaster. And like Planet of the Apes, the Statue of Liberty is used as the chilling reminder of what once was (her torch barely peaking out above sea level is eerie in much the same way her beach-logged torso was in Apes).
3. War of the Worlds (2005)
Perhaps realizing he missed an opportunity with A.I., Spielberg made up for it by piling on the N.Y. decimation in his remake of War of the Worlds. From the vantage point of Bayonne, New Jersey, we see bridges twisting like licorice and entire swaths of the city getting ripped apart. The entire Eastern seaboard feels the brunt of the alien attack, so for once New York isn’t unfairly singled out for termination.
2. I Am Legend (2007)
There is nothing more chilling than the sight of a New York City completely devoid of people. It’s somehow more unnatural and more disturbing than an alien invasion, giant meteor, or epic tsunami. People surrender their desire for piece and quiet the minute they sign the rental agreement on a N.Y. apartment, so the idea that there could be more vegetation than people on Fifth Avenue is tough to swallow. New Yorkers being wholesale turned into vampires isn’t any easier.
1. Sex and the City: The Movie (2008)
Without a doubt, the combined forces of Carrie, Samantha, Charlotte, and Miranda have been more devastating to life in New York than anything dreamed up by Roland Emmerich or Michael Bay. As a cable series, Sex turned New York’s way of life upside down — convincing millions of Midwest dreamers that they could afford a one-bedroom Manhattan apartment by writing a single newspaper column every four months, that they could subsist entirely on Cosmos and pastries, and that they would magically have enough free time and disposable income to lunch with the girls in between Manolo Blahnik shopping sprees. Utterly devastating.
This is Quentin Tarantino’s 10 Most Legendary Basterds. Take a look and enjoy!
Sporting unruly sideburns and a constant scowl, the fearsome Jules is without a doubt a “Bad Mother F****er” (as his wallet clearly states) among Tarantino’s basterds. A tribute to blaxploitation antiheroes, the god-fearing Jules has a bounce in his step, a nine-millimeter in his pocket and a really hot temper. He’s a smooth talker, a grandiose killer and is at his best when mincing the gospel to play devil or saint. Jules is philosophical, intense and confrontational. He contemplates life and speaks with conviction. Plus, he’ll shoot one man just to break another man’s concentration.
Classic line: “You’re the weak and I’m the tyranny of evil men.”
The crime boss’ wife ain’t your typical dame. Uma Thurman’s foxy Mia Wallace puts men in line with her hip, urban sass, quick wit and, well, her hips. She talks about talking, dishing the ins and outs of gossip, conversational suspense and, ironically, silence. A verbal whiz, Mia also outwits John Travolta on the dance floor and remains captivating even when she’s comatose.
Classic line: “That’s when you know you found somebody really special, when you can just shut the f*** up for a minute and comfortably share silence.”
It’s the role that resurrected John Travolta’s career: Hitman Vincent Vega is a persistently stoned screw-up who lets his date OD, accidentally blows someone’s head off and goes to the bathroom at the worst moment possible. Vincent’s an audacious basterd who has the b**** to argue against his own follies and moan when he’s not getting his due respect. Yet, he’s also a curious observer who enjoys the finer details in life, like how the metric system applies to McDonald’s and what kind of discrete meaning is hidden in a foot massage. Plus, he shows off his cool with some fancy footwork on the dance floor.
Classic line: “Oh man, I shot Marvin in the face.”
The whiniest, most hilarious basterd, Mr. Pink, as played by Steve Buscemi and his rodent looks, is the criminal ready to consider the facts and think things through — the voice of reason among mad men. He’s an a** who is insecure with the color pink and doesn’t believe in tipping, but he has his principles and can dish out a good Quentin-esque argument or two to justify them.
Classic line: “The words ‘too f*****g busy’ shouldn’t be in a waitress’ vocabulary.”
Tony Scott may have directed True Romance but Quentin Tarantino wrote the screenplay and Drexl, the dreadlocked pimp played by an unrecognizable Gary Oldman, brings Quentin’s jive to the fore. It takes five minutes for this scar-faced, gold-toothed, milky eyed pimp in white boxers and a silk leopard-print bathrobe to steal this movie. And all he has to do is swing a tacky lamp and deliver a brilliant monologue about the methods and politics of criminal negotiation: how to sit, eat and keep the mystery. Drexl’s advice: Eat the f***ing egg roll.
Classic line: “If I asked if you want some dinner, and you grabbed an egg roll and started chowing down, I’d say to myself, this m*****f***a, he’s carrying on like he ain’t got a care in the world. And who knows. Maybe you don’t.”
Bud (aka Sidewinder)
Kill Bill: Vol. 1 & 2
A former member of the Deadly Viper Assassination Squad, Bill’s estranged brother, Bud, becomes a strip club bouncer who spends his days in a mobile home spitting something nasty into a bucket. Yet, Michael Madsen’s lowlife Bud is still crafty when it comes to dealing with enemies. What makes Bud tick is his twisted empathy. He has a curiosity to understand the human condition and there’s a glimmer in his eye that shows understanding, even while he’s burying his victims alive. In fact, Bud may be the only brutal bastard who makes you feel all warm inside.
Classic line: “That woman deserves her revenge… and we deserve to die.”
Winston “The Wolf” Wolfe
A bow-tie-wearing, sports-car-revving problem solver, Harvey Keitel’s Winston Wolfe is like the uncle you never had. Assigned to hide a dead body and make for a clean getaway, Wolfe’s five-minute onscreen appearance makes for one of the smoothest and funniest moments in Tarantino’s movies. He’s brisk and polite, has his wits together in the middle of chaos and appreciates a good coffee while soaking up pools of blood. He can simultaneously put a hit man in his place and calm an anxious civilian. In fact, he probably should run for president.
Classic line: “You’ve got a corpse in the car, minus a head, in the garage. Take me to it.”
Bill (aka Snake Charmer)
Kill Bill: Vol. 1 & 2
Played by Kung Fu’s David Carradine, Bill — the pimpin’ boss of the Deadly Viper Assassination Squad — is the basterd responsible for the massacre of the wedding party and subsequent “coup de grace” performed on The Bride (he’s also the guy who knocked her up). Bill is a part-time mystic, a full-time killer and a hopeless romantic who cites ‘80s pop songs and elaborates on comic book mythology. He’s a pied piper kind of guy, luring his victims with his suave, friendly humor and the tune from his wooden flute before getting medieval on them.
Classic line: “There are consequences to breaking the heart of a murdering bastard.”
Mr. Blonde (aka Vic Vega)
Mr. Blonde’s loyalty to his partners is matched only by how much he hates cops and people who set off alarms. The brother of Pulp Fiction’s Vincent Vega, Michael Madsen’s Vic is frank and upfront. He’ll tell you exactly what he’s going to do and how little he cares about doing it. Both easy to admire and discomforting to watch, Mr. Blonde is a murderous bastard who takes time and pleasure in his dirty work; he’ll even sing and dance while doing it. He keeps cool, calm and collected, even when he’s hacking off someone’s ear.
Classic line: “If they hadn’t a done what I told them not to do, they’d still be alive.”
Kill Bill: Vol. 1 & 2
Who says a woman can’t be a bastard? Besides, this empowered bridezilla ain’t your typical woman. Uma Thurman’s vengeful assassin is a Frankenstein-ish amalgamation of ancient samurai, spaghetti western cowboy and a girl with the most deadly case of PMS you can imagine. Her grandiose, self-referential Quentin-speak is the backbone of the Kill Bill movies. The Bride has the nurturing warmth of a would-have-been mother and the ice-cold stare of a killer ready to decapitate just about everything.
Classic line: “You and I have an unfinished business.”Read More