I can see that although, given that the T-800 very nearly kills one of the two bros who come to John Connor’s rescue when he yells; The T-800 only misses shooting him in the head because John Connor pushes the gun away, that seems unlikely.
JC changing the T-800 is part of JC’s character arc too; He’s such a paragon of virtue that he can humanize a machine; That’s why JC is the savior to lead humanity through the apocalypse.
If Butch had just left the pawnshop, Marcellus would be dead and all his problems would be over. That scene was a callback to Butch’s childhood when he got his father’s watch. When Butch broke the chair he was tied to, punched the Gimp, and was on his way out, he remembered what Capt. Koons told him when he was a boy. When two men are in captivity together they take on certain obligations to each other. That’s when he started looking for a weapon to go back in and rescue Marcellus. That’s what the watch meant to Butch, and when he passes it on to his son that will become his chapter in the story of how it has been passed through the generations.
Protecting young JC is the T-800’s primary directive. It’s not as if the T-800 is slaughtering anybody who doesn’t get out of its way. Whatever. Our opinions differ, and you may be right.
The dialog is pretty excruciating. Although the thing that always bothered me about that scene is more toward the OCD end: The cab itself looks like it’s from 1958 or so. What is this, Cuba all of a sudden? Why is she driving a cab from the 50s? You’re forced to acknowledge that a concession was made, contrary to realism, for the sake of the romance of it. So you’re thinking about Tarantino’s decisions, not the world of the movie.
Speaking of Tarantino intruding on the movie, the scene where he plays “Jimmy” and goes on and on about “dead nigger storage” is kind of shit too. And now that I mention it, when he’s “Mr. Brown” in Reservoir Dogs talking about Madonna, that sort of sucks too. Hitchcock was in (almost?) every one of his own movies but at least he had the sense to keep his damn mouth shut and let the actors do the acting.
Interesting, odd little confection - Leolo - had an extremely ill-advised “gang initiation:rolleyes:” cat rape scene, especially the shot, at scene’s end, of the cat, on its side, looking like it was having a fucking seizure, hyperventilating, tongue out. Off-putting as shit, I can absolutely assure you.
On the same note, whenever animals were mistreated in Peter Greenaway’s Zed and Two Noughts AND The Cook, The Thief, His Wife, and Her Lover.
No pun intended! Wocka wocka!
Seriously though, I think it’s just the violin player who breaks down… going from memory there. But when you consider they’ve probably been made to do this many times, to play music while somebody is tortured, the guy has plenty to be sad about. First of all, he’s in a POW camp. Secondly, his fellows are routinely tortured. And third, he’s been forced to be an accomplice in the torture. And fourth, he is made an accomplice specifically through the perversion of what once, presumably, brought him joy, which was the playing of music.
You can say that for just about any Tarrentino film when he’s on screen.
The last scene(s) in AI: Artificial Intelligence. Should have ended with him waiting forever underwater.
Not a whole scene but one little piece of business. Princes father is abusing his mother in Purple Rain and Prince runs to protect her like a little bitch in high heeled boots-- totally kills the very serious vibe for me.
How would any of that jive with his mantra/ethos, “You got to be ready to leave in 30 seconds flat when the heat is around the corner”?
I know he failed at it anyway by going for the big score despite knowing the cops were on them, and by going for Waingro despite the cops really being on him, but still, those were things he did for himself while working to protect and save the crew wouldn’t match with the whole concept of the “heat”.
The “stir the tanks” argument scene in Apollo 13. It never happened. I know why it was fabricated, but Ron Howard didn’t need to. Showing the calm, calculated resolve of the astronauts after the explosion would have improved the movie.
Once Upon a Time in the West: When Frank more-or-less rapes Jill McBain. It’s all within character, however, how did she get there? How did they get back?
Sergio left too much on the cutting room floor.
Now they are, but then, they were supposedly funny as hell. :eek::rolleyes::dubious:
Deadpool. The over long torture scene on Deadpool. Unnecessary. Start it, cut to black, then end.
Suicide Squad- most everything with the Joker and Harley.
The Joker is not magical. Harley is not a super. Harley should have been less effective than the soldiers.
The Lollypop Guild - WOZ
Close Encounters is one of my absolute favourites and the contact scenes at the end are magnificent. Apart from the line “Einstein was probably one of them”. Aaaaarghhh whyyyyy
When Pulp Fiction was made, most cabs were probably made by Checker, which produced essentially the same car unchanged from 1959 to 1982.
The scene with Rock Hudson as a young Native American in the otherwise magnificent Winchester '73.
Madeline Kahn’s waaaay too long musical number in the otherwise nearly perfect Blazing Saddles. The premise of the song is worth a grin, but not after four and a half minutes.
Agreed. It’s almost as bad as the “Tell me I’ve led a good life” scene in Saving Private Ryan. Ugh. Spielberg just can’t help himself.
I think this is the scene in question (though it’s the Mad Hatter repairing the White Rabbit’s watch, not the March Hare repairing the Mad Hatter’s). All I have to say is: Wow—that single second of black-and-white animation singlehandedly ruined the whole film for you?