Posts Tagged ‘winter’


Every year, you can count on a horror movie being released that’s sold as completely different than anything you’ve ever seen before. A veritable game-changer! In the last few years, The Babadook and It Follows have had that praised heaped on them. Those movies weren’t unique and neither is The Witch. If we’re looking for a common denominator, these are all well-made horror movies that have a little more thought than the standard slasher-style fare of gore porn that’s preferred these days.

When the quality of movies released in theaters is so shockingly poor early in the year, a cinematic movie like The Witch is the beneficiary of a lot of bored film critics. While there are some memorable moments, The Witch fails to distinguish itself as anything special. If you have a hatred for period pieces, then stay far away from this movie because the story is set in 1630’s New England. The language is very hard to understand, which would be easily fixed with some subtitles to help follow along. When a slow, plodding movie like this is so reliant on the story, the dialogue needs to be accessible.

Jesus Family Dinner

What also made it worse for me was the horrible audience in the theater. As the movie started, two fucking idiots bumble in trying to find their seats (I am spoiled and only go where they have assigned recliners) while audibly talking. Several people had to tell them to shut up. The opening of this movie is crucial to the story because The Witch is about a family who is banished from their Puritan community. Since those two fucksticks decided to arrive as the movie was starting, I’m not entirely clear why the family was banished. I assumed it was “sin…sin…something or other.” Investigating further after watching The Witch, they didn’t specifically describe why they were forced to leave—instead citing the father’s “prideful conceit” so I suppose it was a sin of sorts. I was incredibly confused.

But really, you don’t need to know why the family is exiled. I guess that’s why writer/director Robert Eggers intentionally made it vague. In a sense, it allows the audience to place their own assumptions as to what is going on with this family. The father, William, is played by Ralph Ineson, and his wife, Katherine, is played by Kate Dickie—who should be familiar to Game of Thrones fans as Aunt Lysa. Kate Dickie is playing a comparable character in The Witch as Katherine with an equal blend of crazy, creepy, and cruel. The supporting cast of children are suitable for their roles. Harvey Scrimshaw plays Caleb, Ellie Grainger and Lucas Dawson play twins Mercy and Jonas, and an unidentified baby plays Samuel.

The true star and focus of this movie is Anya Taylor-Joy as the daughter, Thomasin.

Anya Taylor-Joy

The Witch revolves around this family with five children trying to survive in the wilderness while spooky shit goes on around them. In the 17th century, they must not have known yet that weirdness always happens in the woods. This movie builds tension at a glacial pace—keeping you waiting for more elements of the supernatural and/or black magic. You should focus on this movie as a family drama rather than a horror movie. If you expect blood and guts, you will be sorely disappointed.

The less you know about The Witch beforehand, the more you will probably like it. The twists and turns the movie takes into the bizarre seem like they would only satisfy the first time. Even that’s not a guarantee you’ll enjoy the direction this movie travels. It’s a slow psychological mystery.

Between the language barrier and odd unraveling of the story, I’m surprised many people like this movie. However, that might be the result of critics eager to praise a movie early in the year. Right now, it’s scoring only 52% with the audience on Rotten Tomatoes—as opposed to an 89% among critics. The Witch is not an entertaining movie by any means, but I can appreciate the effort and expertise put into making this film. I’m hoping for better subject-matter in Robert Eggers’ next endeavor.

It’s just unfortunate that The Witch is as dry and cold as a witch’s tit.

Black Philip

2.5 out of 5 stars



Deadpool is the culmination of the collective will of comic book nerds.

I’m not a big comic book fan and I had no idea about Deadpool, but the story behind this movie’s existence is fascinating. In 2009, X-Men Origins: Wolverine butchered the depiction of Deadpool, which also featured Ryan Reynolds as the character—except with his mouth sewn shut. The Merc with a Mouth literally had his mouth removed. While a Deadpool movie was in the works at that time, the massive commercial failure of X-Men Origins: Wolverine effectively killed this virtually unkillable character. Development hell is a perpetual state of misery that very few movies escape.

Deadpool excited nerds everywhere by leaking a rough trailer showing CGI footage of Deadpool kicking ass and Ryan Reynolds cracking jokes. This guerrilla tactic sparked widespread interest among the comic book community and this fucking Deadpool movie finally got a green light. The power of nerds. And Ryan Reynolds—don’t forget about him. Everyone should be sucking Ryan Reynolds’ balls for sticking with this movie and believing this character, Deadpool, could deliver a hit.

Once this movie premiered, the American public gravitated to this R-rated superhero comedy like no one could have possibly expected. As a result, Deadpool might be a tad overrated because of the hype. But this movie still delivers heaps of genuine hysterics and unbelievable violence. When all Marvel movies are so overwhelmingly saccharine and DC is establishing a gritty, dark universe, Deadpool operates in a sort of limbo with elements of both approaches to superhero movies. What makes Deadpool distinct and singularly unique is its metanarrative and constant breaking of the fourth wall.

Touching Myself

Ryan Reynolds is a perfect fit as Wade Wilson—who is transformed into Deadpool through a series of torturous events. While the humor is almost too much of the wink-and-a-nod variety, Reynolds’ delivery successfully matches the tone of the movie. I cannot imagine anyone else pulling off this role.

Oddly enough, the opening credits are one of the best parts of this movie. Deadpool starts with a bang and impressively maintains that pace despite not having the same type of budget as most superhero movies. However, the lack of financial resources probably improved the quality of Deadpool because it forced them to be creative. The structure of the movie gives the illusion of relentless action. In reality, there are only a few scenes of real action but they’re used efficiently and spread throughout.

For the most part, the supporting cast is incredible. If there is a weak spot, Ed Skrein was rather lackluster as the villain Ajax. I didn’t cringe every time Skrein was on the screen, but the character and performance were flat and one-dimensional. He was just a British villain—as the credits stated.


T.J. Miller was outstanding as Wade’s best friend, Weasel. I will watch anything involving T.J. Miller, and he really shined in this movie—especially bantering back and forth with Ryan Reynolds. Morena Baccarin’s character, Vanessa, didn’t have a whole lot to do, but she brought a certain charisma to the screen. Baccarin is deserving of a more prominent role in the sequel, and I demand a return of T.J. Miller.

I don’t know if this was one-and-done for the X-Men characters Colossus (voiced by Stefan Kapicic) and Negasonic Teenage Warhead (played by Brianna Hildebrand), but they flawlessly created these characters and the actors brought them to life perfectly. It was a harmonious production. Although I was never a huge comic book fan, the one comic I collected a few copies of just happened to be X-Men. I remember playing an X-Men arcade game and the animated television show was also a staple of my childhood. The X-Men movie universe is entertaining enough and fun for what it is, but Deadpool blows away the competition. While this shares some similar aspects to James Gunn’s Super (starring Rainn Wilson), Deadpool is unlike anything the audience has seen from a major movie studio. You can legitimately critique Deadpool’s satire of the superhero genre as hollow considering it operates within the same universe. But that is unavoidable due to the rights issues regarding the character.

Colossus and Negasonic

Deadpool’s incredibly shrinking budget is likely why the writers Rhett Reese and Paul Wernick and director Tim Miller had so much freedom to create this movie in their image. There’s been a lot of hullabaloo about Deadpool’s R-rating, but it wasn’t forced and it naturally works with the character. Deadpool is not a family-friendly superhero comedy. The fact that it feels taboo and a bit naughty has probably helped propel this movie to unthinkable levels of commercial success.

Whether it was all of the marketing or just word of mouth spreading, Deadpool has earned its status as one of the highest grossing R-rated movies. A sequel was already confirmed in the post-credits scene, which is going to be a difficult task to match this accomplishment. I hope they keep restrictions on Deadpool so the character remains separate from the main X-Men timeline. But if the sequel receives anywhere near the same reception, I fear over-saturation would be inevitable.

As a snarky antihero, Deadpool scratches a very specific itch.

The whole superhero movie landscape will be transformed (for better or worse) by Deadpool. Personally, I still credit James Gunn because Deadpool follows in the footsteps of Super and Guardians of the Galaxy. Tim Miller did a very admirable job in his directorial debut, but someone like James Gunn could have elevated the material even more. Was this just a perfect storm?

I’m not sure if the success of Deadpool can be reproduced. After the resounding success of Deadpool, I expect the sequel to be appropriately ambitious—already announcing that Cable will be included. The odds are stacked against a repeat performance, but crazier things have happened.


4 out of 5 stars


Room is a heartbreaking story that is great despite being depressing from beginning to end.

As you can imagine, a movie titled Room is a restricted narrative. Nearly the whole first half of the movie takes place inside a single room with basically two characters. Brie Larson plays the main character, Ma—who was kidnapped when she was 17 years old and repeatedly raped by her captor. Her real name is Joy, which is not very fitting considering her awful situation. Joy gave birth to Jack—who turns 5 years old during the movie and he has never stepped outside. Jack doesn’t understand that there is a world beyond the walls. The outside world to him is outer space. Jack doesn’t know that other human beings are real. His exposure to the world is through the fake pictures on television. Jack only knows his mother and his mysterious kidnapper (given the devilish moniker Old Nick).

This movie works because of Brie Larson as Joy and Jacob Tremblay as Jack.

Brie Larson

Brie Larson is tasked with the heavy lifting and she rises to the occasion. I first fell in love with Brie Larson a few years ago after Short Term 12—a bonafide 5-star movie still streaming on Netflix. Brie Larson is absolutely sweet, charming, and endearing. People are expecting her to experience a similar career surge as Jennifer Lawrence if she wins the Oscar for Best Actress this year. She’s the prohibitive favorite and deserves the distinction. And she’s a much better actress than Jennifer Lawrence.

Personally, I think Jacob Tremblay was snubbed for Best Supporting Actor. Maybe his nomination would have interfered with the orchestrated plan to retroactively honor Sylvester Stallone for Rocky. This little kid was much better than Sly mumbling along as a brain-damaged boxer—quite a stretch for Stallone and convenient that his character had a built-in excuse for his inability to speak. Jacob Tremblay’s acting was shocking for someone so young. Of course you want to root for these two characters to escape. However, it’s also natural if you want to throw the kid across the fucking room at times.

Jacob Tremblay

One missed opportunity is the failure to define Old Nick. You don’t have any idea as to his motivation and the man has no discernible character traits. I’m not asking for much, but I would’ve been better served with Old Nick having some purpose beyond needing to fuck every night. As written, Old Nick is a standard, one-dimensional bad guy. It’s understandable if you might find it difficult to maintain your interest through such a bleak plight, but I was on the edge for the whole movie.

Room is emotionally captivating. This movie places the audience in these claustrophobic confines and you feel what the characters feel. The depression would be incapacitating and overwhelming. Brie Larson’s character is just trying to hold everything together for as long as she can. When shit breaks down, it’s incredibly tense because you can’t help but scream and squirm in your seat.

Very few quibbles could be had with the construction of Room. There are no windows in this room, unless you count an annoying skylight—which I do. The skylight gives them a glimpse of the outside world. It represents hope while simultaneously torturing them with what they can’t experience. In this situation, it’s hard to imagine having much hope. However, the skylight is a frustrating element that demanded addressing. This young woman and her 5-year-old son are being held captive in a shed with a door locked by a passcode. Padding on the ceiling muffles sound, but the characters still scream at the top of the lungs during their daily routine in an attempt to draw anyone’s attention.


Why the fuck wouldn’t they try to shatter the skylight glass? You could yell for help or even try to crawl up to the roof of this small 10×10 shed. I’m fine with the route that Room took, but there needed to be an attempt or at the very least some throwaway mention that it’s shatterproof glass (unless I completed missed that). It’s a relatively minor nitpick in an otherwise phenomenal film.

Room separates itself from being standard kidnapper genre fodder by focusing on the aftermath. If you could somehow survive this situation, would you want to? What makes life worth living? I don’t know how you could cope with being raped every night for 7 years. This movie is based on a book of fiction, which I found somewhat surprising since it seems like an amalgamation of true events. You feel like you’ve heard a similar story. Lenny Abrahamson (who also directed sleeper hit/cult favorite Frank last year) deserves credit for keeping the pace brisk. Although this should have been reduced by about 15 minutes, the third act is full of emotional moments that make the room rather dusty.

Room deserves your adulation. This year’s Oscars is an extremely crowded group for Best Picture, but Room is in its rightful place among The Revenant and The Big Short (though Mad Max: Fury Road is unparalleled in its greatness). Brie Larson will likely be the major recipient of this movie’s well-deserved praise—especially after she wins Best Actress. But I’ll also watch the next movie with Lenny Abrahamson at the helm. Coming off the unique and largely unforgettable experience of Frank, I’m certain that Room is not just a one-and-done case of Stockholm Syndrome with Brie Larson.

Thank You

4.5 out of 5 stars


By and large, The Big Short is a movie about the awful things done by rich old white men with money and power, and the desperate lengths they will go in order to protect that money and power. Maintain the status quo. Consequences don’t exist for these people. This story would be too far-fetched and unbelievable if this wasn’t actually based on true events. Our economic system is a cycle of greed and abuse. The future is traded against the present and no one learns anything from the past.

Co-writer and director Adam McKay deserves credit for telling this story in an accessible manner. However, I also felt like my intelligence was being insulted. The scenes where celebrities explain an aspect of this financial situation (the housing bubble) in some clumsy comparison are weird and wholly unnecessary. I have no idea why Anthony Bourdain is in this movie. It felt like they wanted to shoehorn in some sex appeal by having Margot Robbie and Selena Gomez appear to re-state the same point. I’m surprised they didn’t have Margot Robbie stand up from her fucking bubble bath.

Fuck Off

In a sense, forcing the audience to pay attention by repeating a point with celebrities is fitting. The American public is/was too distracted by meaningless shit like celebrity culture to realize the many ways in which they are being fucked on a daily basis. The practice of predatory lending by banks is one piece in our house of cards. The evil fucks in charge didn’t care about the ramifications because they knew they would never really face any punishment. And thus, the cringeworthy term “too big to fail” was born.

The Big Short does a decent job describing this particular time period. But I would have liked it to go further—descending deeper to highlight more of the plight of the American people who suffered as a result. The movie gives us a taste, but everything is far too superficial.

The Big Short is a drama that doesn’t take itself too seriously. Almost to the point of being a straight comedy. It’s an odd tone to strike considering the subject matter—but it works well enough.

There are some incredibly funny scenes in this movie, which helps give the actors room to breathe. You get to see Christian Bale act amazingly weird with a fake eye and pound drums to the beat of Pantera. Ryan Gosling gets to shriek “I’m jacked to the tits!” and rock a perm while acting like a jackass. It’s rather shocking how much Brad Pitt resembles Robert Redford the older he gets. Steve Carrell has a horrendous haircut, but he revels in playing the role of cynical prick. No one here is likeable.

Jacked to the Tits

Despite very limited interaction between these characters, they all own a portion of the movie. Each actor chews their fair share of scenery. However, I found them all annoying and grating in their own way. These people could only be described as the “good guys” in this particular twisted story where faceless institutions acting without any accountability represent the true evil.

I thoroughly enjoyed the acting performances. Most people probably won’t like The Big Short as much as I did. I can be enthralled with a movie that has a mid-level/sub-par story if there are great actors being great—i.e. Daniel Day-Lewis and Paul Dano in There Will Be Blood.

Creepy Bale

The Big Short isn’t in the same echelon, but it belongs in the same categorization. Unfortunately, it is a touch too stupid for a movie focused on a few incredibly smart people who gazed into the void and gambled against the facade. I think this could have been a much better movie in different hands.

Maybe it’s not necessarily a bad thing that The Big Short is fun and breezy.

Whatever your reaction is after watching this movie…just don’t fucking dance.

Don't Fucking Dance

4 out of 5 stars

Definitely mark The Revenant in the category of Good Movies I Never Want to See Again.

The Revenant is a beautiful movie. I can recognize and appreciate The Revenant as another technical achievement by Alejandro Gonzalez Inarritu. It is very well-directed, but the story itself is rather lackluster. This is an endurance test that exceeds 2 hours and 30 minutes.

It’s almost a shame that The Revenant is the performance that will finally get Leonardo DiCaprio his first Oscar for Best Actor. The outcome has been preordained, which seemed like the intention from the outset. DiCaprio is solid as Hugh Glass, but he’s constantly overshadowed at every turn by the phenomenal performance of fellow superstar actor Tom Hardy. While John Fitzgerald is a one-dimensional bad guy, Tom Hardy brings an undeniable spirit and charisma to this shitbag.

However, you can never forget that Hugh Glass is Leonardo DiCaprio. It’s hard to blame DiCaprio. Leo delivers everything written in the script, but the man doesn’t exactly melt away into a character. For a vast majority of the movie, DiCaprio does his classic What’s Eating Gilbert Grape Face where he juts his lower jaw and chin out while breathing heavily and slobbering all over himself.


The only humor in The Revenant comes from the racism of Tom Hardy’s character and the unintentional comedy of Leonardo DiCaprio’s nonverbal acting. Without any real dark humor or additional entertainment value, The Revanant is (at times) an arduous slog. I could have really gone without the philosophical/existential flashbacks—especially those scenes filmed at the burnt church. It was all too reminiscent of Gladiator. After the opening hour, it’s an exceedingly dry revenge thriller short on thrills.

But holy shit, The Revenant is incredible for that first hour. Inarritu is a visionary director, which should be evident from the marvelous, hypnotic camera movement in the opening action sequence. It is violent in the most visceral fashion. You can feel the desperation of those trying to stay alive.

About 20 minutes into the movie, an amazing thing happens—one of the most astonishing scenes I’ve ever witnessed occurs. Leonardo DiCaprio gets raped by a bear…or so some idiots would lead you to believe. What you do get to experience is a realistic bear mauling. I don’t know how they managed to pull off such a stunt with a blend of practical effects and an impressive CGI grizzly bear.

Bear Attack

Unfortunately, it was mostly downhill from there. The next half hour of Hugh Glass’ struggle to survive that vicious bear attack is surprisingly engaging. I think a lot of actors would have been just as capable, but DiCaprio does a great job portraying that emotional journey. It just gets to be way too much after the initial hour since there’s still another hour and a half left of the same shit.

I understand The Revenant was designed as an epic, but I can’t help believing this would be much improved by shortening the second and third acts with a more direct cat-and-mouse routine between DiCaprio and Hardy. After the first hour, these characters don’t really share any screen time together until the very end. I don’t know how the last-minute reshoots impacted the final cut, but the second half of the movie feels like it could have been entirely different at one time in production.

Tom Hardy

I wish there was something more to hang onto than just solely beautiful visuals and those two great scenes in the beginning. Granted, those scenes were unparalleled in their greatness. But I wanted a tighter narrative and more room for these phenomenal actors to breathe.

While I can enjoy this movie and appreciate its place in the grand scheme, I cannot envision a scenario where I will ever watch The Revenant again. This movie might even win Best Picture. DiCaprio will probably win Best Actor and at least Tom Hardy is nominated for Best Supporting Actor. None of that changes the fact that this story is largely bleak and dreary—making it difficult to endure.

DiCraprio Jaw

Coming off of Birdman, my expectations for The Revenant were probably too high. Apparently, Inarritu was prepared to exceed expectations. His insane idea (at least initially) to set the bar high was to film this movie in the same single shot style. Inarritu had enough difficulty with an exploding budget and frozen conditions that made so many staff members quit. It would have been an unbelievable feat, but it would have merely been another layer to an already well-directed movie.

I admire the ambition. Unfortunately, the subject matter doesn’t quite match Inarritu’s ambition. Ultimately, The Revenant fails to be transcendent because of the storyline—not the execution. This movie is missing an element to the story that makes it re-watchable. Years from now, I doubt most will remember this for more than the movie that got Leonardo DiCaprio his Oscar. Hopefully the 22-year-old blonde model-sized hole in his heart will be filled with that goofy gold statue.
Oscar Handjob

3.5 out of 5 stars


The Hateful Eight is not a movie for everyone. In fact, I would probably say this movie is only for people who are already fans of Quentin Tarantino. As a white male between 18-36 years old, I am squarely in the perfect demographic for Quentin Tarantino. I’ve come to age watching Tarantino movies.

While The Hateful Eight isn’t Tarantino’s best, this eighth installment is a worthwhile addition to Tarantino’s directing catalogue. And I fully assume that anyone who categorizes this as Tarantino’s worst film is either an idiot or they just have never watched Death Proof—an abomination. I don’t know how anyone could consider Django Unchained as a better, more entertaining movie. I enjoy watching great actors work. I still harbor ill will towards Jamie Foxx for his horrible acting. In comparison, some of the performances in The Hateful Eight are enough to place this in my personal Top 5 of Tarantino.

If you can endure the three hours of Tarantino’s typical cinematic masturbatory machinations, there’s a great movie within The Hateful Eight. While I have issues with the movie itself, I have very few complaints about any acting performances and not a damn one with Walton Goggins. In a just world, Walton Goggins would earn an Oscar nomination for Best Supporting Actor for this performance.


This film is a Walton Goggins tour de force. I think the reason everything works so well is due to the interplay between Walton Goggins as Chris Mannix and Samuel L. Jackson as Major Marquis Warren. Both actors portray despicable characters who are still likeable to different degrees despite being on different sides of the Civil War. Jennifer Jason Leigh was terrific and Kurt Russell was also superb with solid supporting performances by nearly everyone. Tarantino totally wasted Michael Madsen (to no fault of his own) with the poorly constructed character Joe Gage. But there’s one very terrible performance that is an even more distracting casting choice. Even talking about the person is a bit of a reveal.

Spoilers galore.

Why the fuck is Channing Tatum in this movie? Tatum doesn’t come on-screen until right at the 2-hour mark. However, his fucking name is in the opening credits. In the interest of fairness, I admit that I am not a Channing Tatum fan so there may be a bit of bias in this, but Channing Tatum is awful. I was awaiting his arrival the entire time—ruining the entire purpose of his character, which is quite a reveal to the story. Channing Tatum plays Jody, Daisy Domergue’s outlaw brother, who has set this whole trap up to save his sister from “The Hangman” John Ruth and the fate of hanging from the rope.

Channing Tatum

Once Channing Tatum appears, the swell of action stops immediately. Two hours into the movie, Tarantino hits the pause button and rewinds to show the audience exactly how Tatum and his gang got to Minnie’s Haberdashery. It is a classic Tarantino move of fucking with time, but it’s a very perplexing sequence because the audience is already aware of how those events unfolded. Do we really need a 20-minute flashback for stupid people who couldn’t follow the breadcrumbs through conversations and observations? As far as I can tell, this 20-minute flashback was designed to allow Channing Tatum to practice his Cajun accent. Get ready, Gambit fans. Although his sister has no discernable accent, Jody is given a weird accent and even speaks some French to Minnie during the flashback.

Speaking of distracting decisions, Quentin Tarantino voicing the narration seemed bizarre. Naturally, Tarantino has to inject himself into every movie so I guess I should just be thankful that he wasn’t the driver, O.B. Jackson. If you’re going to have a narrator for those later scenes, I would rather hear the soothing dulcet tones of someone like Sam Elliott than the grating voice of Tarantino himself. When I hear his voice, it’s hard not to picture his ugly mug, which I’m sure achieved his objective.

A lot has also been said about the scene where Samuel L. Jackson’s character tells the story about how he killed General Sandy Smithers’ son, Chester Charles Smithers—who was trying to collect the bounty on Major Marquis Warren’s head. In particular, Warren says he forced Smithers’ son to walk naked through the snow in freezing temperatures before making him suck Warren’s dick. However, I interpreted this scene as a lie intended to provoke General Sandy “Don’t Give a Damn” Smithers to grab the gun and give justification for Warren shooting him dead. It’s a ridiculous story, but a typically crass Tarantino move that shouldn’t be shocking considering his over-the-top nature. I cannot unsee Samuel L. Jackson wiggling his tongue around and licking his lips. Thanks, that image will haunt me forever.

Warren's Tongue

The Hateful Eight needed better editing. This is a much improved movie if you cut out the completely unnecessary 20-minute flashback sequence and cut down both the introduction leading to Minnie’s Haberdashery and Warren’s black pecker speech. Instead of teetering over three hours, The Hateful Eight could clock in at a more tolerable 2 hours and 30 minutes. And then, we only really suffer through a few minutes of Channing Tatum before he gets his fucking head blown off. Everyone wins.

The Hangman

Despite its excruciating runtime, The Hateful Eight is surprisingly re-watchable. I can’t say the same for other movies that were actually nominated for Best Picture at the Oscars. At its core, The Hateful Eight is mystery that feeds on constant paranoia—it’s like an Old Western version of Clue. While I enjoyed this movie, I would be lying if I didn’t say that I want something more original than Tarantino masturbating to the old classics he loved as a kid. We should collectively hold Tarantino to a higher standard, but I can still simultaneously applaud The Hateful Eight as a beautiful, almost awesome movie. It’s a well-crafted playground for actors to chew scenery while propelling forward an interesting (albeit slow) story.

How would I respond to anyone who says this movie is Tarantino’s worst cinematic effort?

Well, that makes me wanna horse laugh.

Horse Laugh

4.5 out of 5 stars