Join us every week for a trip into the weird and wonderful world of trailers. Whether it’s the first teaser for the latest installment in your favourite franchise, an obscure preview for a strange indie darling, whether it’s good, bad, ugly or just plain weird – your favourite pop culture baristas are there to tell you what they think.Continue reading
And hot on the heels of one (to my mind successful) exercise in pop culture nostalgia comes another. Remember how at the end of Breaking Bad you were left wondering what happens right after Jesse, free from his neo-Nazi captivity, speeds into the night in a stolen car, screaming and crying in catharsis? Well, wonder no more: we now know exactly what happens a few minutes later. Has there even been any other six-year wait this filled with trepidation?Continue reading
Each Friday we travel back in time, one year at a time, for a look at some of the cultural goodies that may appear closer than they really are in The Rear-View Mirror. Join us on our weekly journey into the past!
Car trunk shot, bare feet, vintage tunes, Samuel L. Jackson: Jackie Brown is clearly a Quentin Tarantino movie, there’s no doubt about that. At the same time, while all the telltale features are there, the film is an odd one out in Tarantino’s oeuvre. Where Tarantino’s movies often have a jittery, adolescent quality in their characters, language and use of violence, Jackie Brown feels like a more… is “mature” the word? … a more mellow film. Compared to the excesses of Reservoir Dogs, Kill Bill, Inglourious Basterds and Death Proof, there’s a grown-up quality (for lack of a better word) to Jackie Brown that is sadly underestimated by some of the director’s fans. At the same time, it would be a huge mistake to think that because of this Jackie Brown lacks the exuberance of Tarantino’s other films – and this is shown beautifully, in miniature, in the movie’s title sequence.Continue reading