Film Clips

Kill Bill Volume 2 (R) — A significant departure from the stylized violence and theatrical hystrionics of Volume 1, Quentin Tarantino elevates the Bride’s vengeful odyssey to genuinely epic filmmaking, by giving his heroine a heart. Where Volume 1 was more brawn, Volume 2 is more brain. The violence, while still raw and vicious, is muted by extended intervals of reflective, weighty dialogue, giving the proceedings a distinctly film noir feel.

The Alamo (PG-13) — A competently made film about the pivotal battle on the road to Texas independence, with fine performances from the lead actors — in particular Billy Bob Thornton, who projects his David Crockett as a reluctant hero. Walking the fine line between history and mythology, this is ultimately told as a sobering, tragic story where the final victory seems hollow. For history students, it will be insightful; for those looking to bolster their patriotism, it may not go over well. (Reviewed April 9)

Walking Tall (PG-13) — Like most recent remakes, this bears only a skeletal similarity to the original and can’t be fairly compared to its predecessor. At a scant hour and 15 minutes, it gets to the point of the story pretty quickly. While it’s not supposed to require any profound philosophical contemplation, something seems to be missing from this version — perhaps the quaint southernness that made the original a cult classic. Still, it has its moments, including chemistry between unconventional action duo The Rock and Johnny Knoxville, which makes for some entertaining scenes. (Reviewed April 2)

The Ladykillers (R) — The Coen brothers are back, this time unearthing the classic 1950’s British crime farce and reinventing it in their own classic black comedy tradition — an American Gothic tale of crime, avarice and karmic justice. The focus on reproducing the mood of the original takes the brothers away from their usual attention to characters, resulting in caricatures rather than ripened personalities. The exception to this is Tom Hanks, whose ridiculous and hilarious Professor effectively steps away from his typical nice guy demeanor — and is the highlight of the film. (Reviewed March 26)