spoiling kill bill 3

Maya Hawke
plays
Beat­rix Kiddo’s daugh­ter, B.B. (be­cause duh).

Ver­ni­ta Green’s
daugh­ter,
Nikkia, is played by Zen­daya.

Nikkia
gets her re­venge
and Beat­rix ac­cepts her fate af­ter a fair fight and is killed.

Both daugh­ters then have one hell of a bat­tle and then stop, re­al­iz­ing they were thrust into a world by their par­ents that nei­ther of them had a choice in, but now they can change things and break the cy­cle of re­venge.

They ul­ti­mate­ly be­come best friends and team up to car­ry out vig­i­lante jus­tice against tru­ly de­spi­ca­ble peo­ple.

 

So the
en­tire time
I was watch­ing Once Upon a Time in Hol­ly­wood (2019) I couldn’t stop think­ing

“Who is this made for?”

I have great­ly en­joyed many of Tarantino’s past films, but this thought is chang­ing how I feel in ret­ro­spect. Be­cause of that I will prob­a­bly nev­er go back and watch most (if any) of them again.

I’ve been catch­ing up read­ing every ar­ti­cle on this movie I can find, and when peo­ple have con­front­ed him about the role of women and the way he por­trayed Bruce Lee in this film, he lit­er­al­ly said, “I re­ject your hy­poth­e­sis,” like some kind of wormy lit­tle fuck­ing edgelord key­board war­rior.

This movie felt like sev­er­al steps back for him, and it would have fit bet­ter some­time in the aughts, in­stead of in 2019.

Re­gard­less, I was both in­sult­ed that he used the mur­der of Sharon Tate as a ve­hi­cle for the plot and an­noyed that I was be­ing asked to re­vis­it it and still care.

And the women in his movies are ei­ther har­bin­gers of vi­o­lence, vic­tims of vi­o­lence, or they stand there and look pret­ty and the men talk around them.

Taran­ti­no came so close with this movie to achiev­ing some self-aware­ness and re­flec­tion and is­su­ing some much need­ed apolo­gies and in the eleventh hour he threw all of that out the win­dow and dou­bled down on his bull­shit.

And it’s beau­ti­ful­ly shot and the act­ing is ex­cel­lent.

But Taran­ti­no could have made a few key choic­es with the di­rec­tion of that film that would have made it 1000x more com­pelling (for me) and also would have grown him as a film­mak­er.

And he doesn’t.

He’s be­come as cliché as Wes An­der­son with his dad­dy is­sues and Shya­malan did with his sur­prise plot twists.

 

—emi­ly duchaine

Flom­mist Emi­ly Duchaine lives in the Pa­cif­ic North­west. She likes to drink mead, learn about sharks, and lis­ten to the Talk­ing Heads. She pre­tends to be a pro­fes­sion­al busi­ness­woman most days. Copy­right © 2020 Emi­ly Duchaine.

PLEASE   SUPPORT   FLOMM
TIPS  +  DONATIONS  DISCREETLY  ACCEPTED

FLOMM
promotes learning  +  education worldwide
drawing attention to works by nü  +  upcoming artists,
designers, writers, musicians  +  MOR

OUR INVOLVEMENT
– however –
is mostly paid for out of pocket or in trade

IF YOU ENJOY
wat  FLOMM  is doing here, please consider


1.   LEAVE US A TIP  :
use our tip jar whenever the mood hits



2.   BUY OUR SWAG  :
our approach is semi-green —
                all our  FLOMMHAUS  merch is made to order



3.   HELP US OUT  :
use our hashtags  #flomm  #flommus  #whereisflomm  #nüflommart  #flommist
when posting on ur socials —
or drop us a note and offer to help in some way
everything we do is on a volunteer basis —
             when we say  YOU CAN BE A FLOMMIST TOO  this is wat we mean

THANK YOU
your support helps our continued efforts
to create content across numerous platforms

clic 「 HIER   」 to return to the DER TUNG front page