Gabriella, a Colombian immigrant, is obsessed with understanding violent crime. The current string of murders by "The Blue Blood Killer" of affluent Miami socialites provides her with ... See full summary »
Zed has only just arrived in the beautiful Paris and already he's up to no good. Having just slept with a call girl, he spends a night on the town with his dangerous friends. They all ... See full summary »
Black comedy about a girl who suffered from brain damage after a car accident and had to be institutionalized due to her erratic behavior. Her devoted and heartbroken boyfriend makes the ... See full summary »
Medellin, 1973: a young girl, chewing bubble gum and playing with a top comes upon the body of a murdered man. She's intrigued, even cheered by the sight. Jump ahead 18 years: Gabriela is ... See full summary »
Gabriella, a Colombian immigrant, is obsessed with understanding violent crime. The current string of murders by "The Blue Blood Killer" of affluent Miami socialites provides her with fodder for her scrapbook of death. She lands a job with a post-murder cleaning service and during a Blue-Blood clean-up job, discovers evidence that police have overlooked. Written by
Amy Searls <email@example.com>
SPOILER At the very end of the credits, after the copyright notice, there is a scene showing Gabriela driving a car, with Eduardo, playing the tape she recorded with Paul's voice saying her name after his death. See more »
Tarantino presents this little gem, which he caught at an Italian genre festival while promoting Reservoir Dogs (he relates the fateful anecdote in an epilogue after the movie on video.) It shares with that director the nervy, hip black-comedy attitude, an absolute command of cinematic techniques, and a post-modern approach steeped in b-movie history. However, where QT's films (and similar triumphs like Go) are explosive, this one is insidiously subtle and dead-pan; so much so that the gradual recognition of the filmmakers' intentions will give you the shivers. The creeping revelations of the themes, the dark pastels, self-referential script and straight-faced performances are reminiscent of earlier successful dark comedies, like Parents and I, Madman. Jones (her solo dance is a knockout) and Baldwin are both dead-on, and the director and editor never miss a beat. This is one of the best films of the 90s. (by the way, did anyone notice that this film opened about the same time as Headless Body in Topless Bar? quite a coincidence.)
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