After a stint in a mental institution, former teacher Pat Solitano moves back in with his parents and tries to reconcile with his ex-wife. Things get more challenging when Pat meets Tiffany, a mysterious girl with problems of her own.
David O. Russell
Robert De Niro
This movie features the collaborative directorial efforts of four new filmmakers, each of whom directs a segment of this comedy. It's New Year's Eve at the Mon Signor Hotel, a former grand old Hollywood hotel, now fallen upon hard times. Often using physical comedy and sight gags, this movie chronicles the slapstick misadventures of Ted, the Bellhop. He's on his first night on the job, when he's asked to help out a coven of witches in the Honeymoon Suite. Things only get worse when he delivers ice to the wrong room and ends up in a domestic argument at a really bad time. Next, he foolishly agrees to watch a gangster's kids for him while he's away. Finally, he finishes off the night refereeing a ghastly wager. Written by
Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
The "one minute" Chester asks Ted to sit on the stool and listen to his proposal actually lasts one minute and twenty eight seconds of screen time. See more »
In the segment "The Man From Hollywood," Chester and Leo incorrectly identify the classic Hitchcock television episode as "The Man From Rio." It is in fact a reference to Alfred Hitchcock Presents: Man from the South (1960). Since all of the characters have been drinking heavily one could assume that the slip is a result of their collective intoxication. See more »
Sam the Bellhop:
We used to have Fifty on staff here. Fifty! I'm the only one left. It all comes down to one schmuck, me. The night shift bellhop. What the hell is that, a bellhop? Huh, what is that? You know where the name comes from? Huh? From someone stupid! Some schmuck rings and bell and ya hop, you hop front and center.
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The film continues until the credits are halfway over. See more »
As though Mr. Bean wasn't tiresome enough, this film puts Tim Roth into a role with the same sort of inane physical comedy, and it is painful to watch. All his foppish affectations are utterly unfunny, but at least it helps keep the movie consistent.
The only bright spot is the third segment, directed by Robert Rodriguez, so if you stay awake that long, check it out. Antonio Banderas is surprisingly good, and the whole segment has a great way of piling on the complications to create a chaotic ending.
The fourth segment will make you puke, watching Tarantino thinking he can act. the worst thing about that is that he's also the director, so he gives himself plenty of screen time. Notice during his monologue to Tim Roth, the camera never once leaves his face! Obviously, he's got rather a high opinion of his execrable acting abilities. Lucky for him he's a director, otherwise he'd never appear on film. Oh, how I wish it were so.
Then there's the plot. Stolen from a Hitchcock story which was stolen from a Roald Dahl story. They do acknowledge the Hitchcock thing, but it's merely a not-so-clever ploy to try and disguise the fact that he didn't even come up with a story, but used some previously reheated leftovers from 30 years ago. There are no twists whatsoever on the Hitchcock theme that Tarantino describes. So, bad enough you have to endure his "acting," but you don't even get a good tale out of it.
So all in all, a terrible film. Fast forward to the third story, and you can safely skip the rest.
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