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Reviews
Bobby (2006)
A Painful Failure On Almost Every Level
If Bobby Kennedy was the reincarnation of Nostradamus instead of the reincarnation of Jesus that this movie makes him out to be and knew this movie was going to be made one day, he would have done a Matrix move that night and dodged those bullets. Headlines around the country would have read "BOBBY DODGES ASSASSIN'S BULLETS; BECOMES AWESOMEST PERSON TO EVER LIVE;CHUCK NORRIS ROUNDHOUSE KICKS SELF IN DEFEAT".
Emilio Estevez, attempting to make a Robert Altman movie about that tragic night when Kennedy did not dodge those bullets while forgetting that Altman makes (well, made, rest his soul) movies about real people as opposed to symbolic mouthpieces for misguided speechifying and transparent, heavy-handed period-evocation, has made what some might call this year's Crash: a big ensemble drama that is About Things with all the subtlety of one of Charlton Heston's climactic outbursts at the end of almost every movie he was ever in. But Crash was competently written, acted, and directed, and is a fairly interesting and lucid piece of thought-provocation, regardless of its contrived, sledgehammer tactics. I'm not sure what Bobby wants to be about. It would appear to be an attempt to explore via cross-section what was probably the most turbulent passage of 1960's American history, but the writing is so awkward and the interconnected stories so hamfisted that the final product seems to suggest that the second Kennedy assassination of the decade was simply the only thing that wasn't boring and ridiculous about the day on which it occurred.
The final passage, in which the characters shut up and the event the whole mess has been building up to finally occurs, has an undeniable power, but all that's left after the smoke has cleared is inept pseudo-liberal pornography, saying nothing in particular with anything approaching actual eloquence. The most laughable passages involve two campaign workers doing acid with possibly the most glaring and unintentionally hilarious hippie stereotype seen on film since the anti-drug propaganda of the day, played perhaps fittingly by master thespian Ashton Kutcher. His performance suggests a degree of self-awareness that the more respectable actors in the cast (let's see...that's all of them, barring perhaps Christian Slater, fresh off his performances in Uwe Boll's apocalyptic semi-masterpiece Alone in the Dark and the direct-to-video Hollow Man 2) miss entirely in their desperate, flailing grabs for emotional resonance in Estevez's graceless prose. While Kutcher's (possibly unintentional) aura of self-awareness is perhaps the only thing that sustains his career, here he seems to be the only one who realizes that he's being Punk'd by this well-meaning garbage.
It also has been made with a disrespect for non-Kennedy-related history and plain old facts. A large part of it tells the stories of the other people who were shot that night, but their stories here are entirely fictional. The subplot involving Elijah Wood marrying Lindsay Lohan to get out of the draft is completely worthless, not just because Lohan is a bad actress and every subplot in this mess is worthless, but because even the users of the IMDb apparently knew more about this than the filmmakers did and have, God bless them, pointed out the fact that the marriage loophole was closed several years before the events in the film. The film traffics in faux-liberal "truthiness" like Stephen Colbert's faux-conservatism does. While I can get behind artistic license being taken when it makes a true story more cinematic, here it just allows the creatively bankrupt but morally righteous Estevez to drag the proceedings into a mire of clichés that might not have been there in the first place.
The whole cast, even the talented portion, (William H. Macy, Anthony Hopkins, Morpheus) does work ranging from mediocre to outright embarrassing. It's hard to tell whether Demi Moore's horrible performance as an alcoholic singer was just because of Estevez's script or the fact that she should be kept as far away as possible from a camera at all times. There's also some inexplicable rambling from the inexplicable Helen Hunt, whom within her first minute of screen time I wanted to reach through the screen and sucker punch in the ovaries. It gets so bad that her husband, Martin Sheen, grabs her and says "YOU ARE NOT YOUR SHOES!" This isn't what I would have done, but it makes about as much sense as the rest of the script.
Bobby is the worst film I've sat through in a theater all year. This might say something about how choosy I am with which films I see, but here the writing is so bad and the storytelling so misguided that I was squirming in my seat for long stretches of the film, and I never do that. That it's been nominated for Best Drama at the Golden Globes says more about the relevance of the Globes than it does about the quality of this abortion.
Silent Hill (2006)
Gans' Gob Of Grandoise Gamey Genius Undone By Avary's Asinine Articulations
What a disappointment. Or not. What the hell is Silent Hill, anyway?
Silent Hill is the best video game adaptation made so far. If anyone makes a list of the ten greatest images in the history of horror films, if this doesn't have at least one spot on there, then there is no such thing as justice. This movie looks fantastic. The set design by Cronenberg Woman is astounding and evocative, the cinematography is pretty much perfect, the creature effects are magnificent, the direction is amazingly confident.
Having said that, it just doesn't connect.
The script, by Roger Avary, seems to be attempting to sound like a video game. In other words, the dialogue is mostly not so good at all. Almost all of the dialogue feels off, both in delivery and in the actual writing. While the movie is going for a surreal, dream-like feeling, the middle section has a few major groaners, once it turns into downright flat exposition it gets next to impossible to stay in the movie. Of course Christophe Gans, a fellow whose visual skill is impeccable in my opinion, thought the script was great, but that's because he speaks English as a second, or maybe even third language.
Anyway, the exposition part is done in this cool-looking flashback, but it's totally unnecessary. As is Boromir of Gondor even being in the movie. The movie's central problem is that its story, while initially intriguing (that's because there really isn't much of any for the first hour, just wandering), just doesn't work. It doesn't work because it doesn't connect emotionally with the audience. Even when it has the potential to, it segues into its middle hour, which is by far the worst part of the movie.
But the problem with calling the movie bad is that it's way too damn cool. I think someone else said that it's good in all the right places and bad in all the wrong ones. It's the very definition of an uneven movie. There is so much right in this movie. The soundtrack, from the games, is brilliant. And as I said, the way everything is visualized is fantastic, although the parts where the monsters melt into ash is a bit excessive and unnecessary.
A lot of people, mainly the ones who haven't played the games, will have no idea what is going on. This is only partially the fault of the filmmakers, because the studio's handling of the movie attracted the wrong crowd. It got teenage guys taking their girlfriends to a scary movie on Friday nights, and by not screening it for critics in the US it got the grouchy, fairly unintellectual Saturday critics, who totally missed the point, or at least the good parts.
The studio's handling of it is worse than any element of the movie, except maybe the part where Radha Mitchell (who is pretty terrific, if slightly awkward due to accent change) and Laurie Holden (who plays the cop who wears sunglasses 24 hours a day and who every critic thinks is a lesbian because she wears tight pants and has short hair) are walking down the street: Laurie Holden:They used to say this town was haunted. Radha Mitchell:It looks like they were right.
Except for that part, the studio's handling of it is much, much worse than the worst parts of this movie.
I dearly hope that Silent Hill is successful enough for a sequel to be produced, because although it's definitely a love-it-or-hate-it affair (sometimes both at the same time), if Gans and company realized the mistakes they made the first time, the Silent Hill universe still holds bountiful possibilities.
Event Horizon (1997)
If Satan was making me speak Latin, I'd rip out my eyes, too.
Event Horizon has the two distinctions of being the only Paul WS Anderson movie that does not feel like it was shat out by a monkey with ADD and smeared onto celluloid, and off being one of the few movies that have genuinely traumatized me. Today, Event Horizon doesn't really freak me out anymore, but it's still an underrated freakout for anyone who hasn't seen it that can accept the weak script and lackluster third act.
So basically it's about this spaceship that gets possessed by evil and terrorizes people by making them go crazy or showing them flashes of their friends screaming and being mutilated in some freaky dimension of chaos or something. The flash parts are really freaky, and along with the scene where the ship's log suddenly starts playing by itself without static over what happened after evil took over--it looks like the kind of porn the dark lord Sauron watches, but with tighter editing. By just flashing crazy gory stuff at you, it makes you think you've seen things that are worse than what you have, since most of it consists of people screaming and bloody or nude corpses impaled through the face hanging around covered in maggots. (on second thought, that is freaky) But it tricks you into thinking you're seeing people being graphically dissected and people eating themselves and gay people getting married.
A lot of people upon release found it to be really derivative of Alien, among other things, but I don't think it's derivative, because it feels like it's taking place somewhere else in the same universe, which is also how it gets away with having everyone smoke 50 years into the future.
The script is lame. "I'm now walking. I'm now entering the medical bay. I'm now picking my nose." a lot of the dialogue can be like that. Or there's the other, non-Morpheus black guy, who seems to be attempting to be the best Funny, But Clumsy Negro stereotype in the history of the cinema, and unfortunately he fails because it takes you out of the movie whenever he appears. They might as well have had Paul WS Anderson play the part in blackface. Also, there's a lot of talk about "hell" and "a dimension of pure chaos", and it all sounds a little silly no matter how freakishly disturbing the visions of it are.
The last half hour houses the biggest shocks, for me, but the movie sort of falls apart into a series of action sequences before the big explosion. You know, the kind that happens in any sci-fi horror movie. It's also unfortunate that they turned the Jurassic Park 1 and 3 guy into the outright villain--it's less scary when you can see the bad guy, particularly if he looks like a more lame, naked version of Pinhead from the Hellraiser movies, but with no pins, so he's really just Head, and that's not a cool name for anybody. The whole last half hour reeks of studio impatience and interference. There was originally another half hour that was cut out, and probably contained a lot of stuff that should have been in the movie, but the studio was a jerk and made them cut a lot of the gore, or the "character" and "story development", you know, things that aren't necessary to Hollywood studios. It's a shame, because with that footage, Event Horizon might have been an actually good movie, and a jewel amidst the chunks of corn in the turd of Paul WS Anderson's filmography.
If Anderson made it today, it would be scored entirely with Marilyn Manson, the action scenes would be hyper-edited and incomprehensible, the characters wouldn't even have personalities, and it would end with Morpheus making friends with the evil force so that together they can battle the alien zombies that Anderson felt were necessary to add to make the movie cooler. And it ends with Morpheus and the Weir-beast walking off into the sunset, holding hands.
Adventures of Young Van Helsing: The Quest for the Lost Scepter (2004)
Hi, I'm Kevin Summerfield, director of The Adventures of Young Van Helsing, and I've just taken a dump on your lawn. Can I have five dollars?
This is to director Kevin Summerfield what the Holocaust is to Hitler--a masterpiece.
This seems to be a film made for tweens, but at the same time it's rather bloody and gory. If I were a tween, I'd think this film has the worst acting, ever. As an older and more mature person, I can say that it just has the worst acting I've ever seen. The back of the box advertises that the story involves a "whimsical" professor. Now, I've seen some whimsical professors in my day, but nothing tops this guy. He looks like they walked into Whimsy Mart, asked him if he ever had a hidden passion for acting, and then superglued an Einstein wig to his head. At one point, there's a closeup where he opens a door, and his head moves in and out of the frame, as if saying "HA! I AM FAR TOO WHIMSICAL FOR A MEASLY CLOSE-UP!" It's also hilariously, ineptly racist. I can't possibly believe that in the year 2004 a movie was made that features a black man looking at something and shouting "DAAAAYYYYUUMMMM!", but this movie does. The plot, which helpfully has a flashback at the beginning, and a bizarre tangent of a flashback near the end that make the plot only even more retarded. There's a time-telling device that is obviously a CD player painted tan with jewels on it. I really wonder if this wasn't a student film, but Kevin Summerfield has been making movies for a few years before this one.
If you see this in the five dollar bin at Wal-Mart (which thankfully I did not have to go through the trauma of, and saw this through a friend), you probably will not want to pick it up. Unless, of course, you are a racist, retarded sort of pre-teen.
Boksuneun naui geot (2002)
The Happiest Movie Ever Made.
I'm going to go out on a limb here and say that Sympathy For Mr.Vengeance is the most depressing movie ever made. It's certainly the most depressing movie I've ever seen, and yet, it's so brilliant that's not really a problem at all. It's certainly more depressing than the second Park Chanwook revenge movie, Oldboy, because everyone dies. At least tongueless Oh Dae-su gets to live on and keep banging his daughter. Here, nobody gets out alive. Well, except maybe those dudes at the end. You know, those dudes. And from the looks of it, those dudes aren't going to be alive too long, either, on account of their synchronized smoking habits.
Basically what this movie's about is that there's this deaf mute guy with green hair who kidnaps the daughter of his ex-boss with the help of his girlfriend who's some kind of activist, and then they are screwed. Not only are they screwed, but the ex-boss is screwed, too. Pretty much everyone in this movie is screwed as soon as they kidnap that girl. After the big screw-up, which comes shortly after the first signs that everyone is screwed, we watch in detached horror as everyone is screwed. Not just screwed normally, like in every other movie where everyone dies, but screwed royally. People drown, people are tortured, screwdrivers are misapplied, there's some nasty cannibalism, and lots of other awful things happen.
It helps that all of these awful things are so stunning to look at. It also helps that the whole movie is pretty brilliant at being so goshdarn depressing. I can't really say a single bad thing about it, except that because the style is more restrained and it's more methodically paced, it's less entertaining and satisfying than Oldboy, which is probably the greatest movie ever made by anyone, ever. It also lacks the singular perspective of Oldboy, which is also why I think Oldboy is more compelling. But it's also perhaps more disturbing than Oldboy. There is one particular violent scene that is incredibly hard to watch, particularly if you pay as much loving attention to the details that Park Chanwook does. (I did not need to see the reaction of a half-naked man's bowels to being stabbed in the throat) And there's something that happens in the aftermath of that scene that you don't see, or at least don't get a clear view of, that is about as disturbing as say, pick a scene from the last half hour of Takashi Miike's Audition and you're close.
If you're not a fan of, like, movies that are more brilliant works of art than entertainment, you probably don't want to check this movie out. But if you aren't a fan of movies like that, you're what the scholars are known to call a pussy.
Se7en (1995)
That 'Lust' Kill Was Sooo Hottt
Seven, or "Se7en" if you like your movies to have numbers sprinkled randomly in their titles, has Morgan Freeman in it.
Need I say more?
Okay, it does also have Brad Pitt, who is doing his usual early Brad Pitt schtick of acting a bit like a spastic heroin-addicted monkey.
Anyway, Morgan Freeman. Also, Morgan Freeman and Morgan Freeman's brilliant portrayal of Morgan Freeman.
To be fair, the Morgan Freeman is not just about Morgan Freeman. It's also got a lot of sweet, inventive death in it of the most awesome, disturbing kind. Apparently, it has something to deal with Keyser Soze, but I wasn't paying that much attention to the plot when I watched it. I was more just gawking at the awesome production design, (Satan wishes Hell looked this awesome) and the awesomeness of the disturbingness, and the awesomeness of the Morgan Freeman.
That Fight Club guy directed this, so it looks like the most depressing Sprite commercial ever. There's a lot of rain, which is sort of cool, and it also has Gunnery Sergeant Hartman in it, which is really cool. Although he should have gouged out John Doe's eyes and done that skull thing to him. That would have made it cooler. Or Brad Pitt's eyes. Either way it's equally cool.
But mostly this Morgan Freeman is pretty Morgan Freeman.
Ôdishon (1999)
The Bag Man Cometh
At the beginning of the movie our pal Aoyama is mourning the death of his wife. At the end of the movie our pal Aoyama is mourning the loss of his his puppy and his foot. Bummer, Aoyama, bummer.
Anyway, Audition is among the top reasons why Takashi Miike is my favorite Japanese director. Only Miike can take a domestic dramedy and spin it into almost-Passion of the Christ territory. A better title than Audition is Passion of the Aoyama, because not only does he get put through hell near the end of it, but it's his passion that has taken to shoving needles under his eyelids.
Basically, this is the movie Alfred Hitchcock's Japanese double, probably named Arfled Hichkoku, would have made if he thought mutilated growling men in burlap sacks being fed on a diet of vomit was a really cool idea.
Watching this movie the first time is a bit like getting really slow, gentle head and then the person servicing you decides to bite you very, very hard, to the point that you start bleeding. And you're screaming but she/he continues biting until you have lost one of your most valuable appendages. Then he/she feeds it to your dog so it can never be sewn back on. Then they kill the dog--But in retrospect it's all a great experience.
Kôkaku kidôtai (1995)
Cartoon Naked Robo-Women Ponder Meaning of Life, Exploding Heads Ensue In Both Movie and Audience
Ghost in the Shell is an odd movie. It's like an adult sci-fi philosophical picture book, only the pictures have lips that move and occasionally something blows up. There are long periods where you're just looking at a still picture with flapping lips. I personally don't mind this too much, but at least in that other movie Akira they bothered animating people's faces completely when they talked.
But the actual story, that is the thing that these pictures are flapping their lips about, is really quite good, but it's pretty much impossible to follow the first time through, particularly if you're just listening to the dub. There are some really striking sequences, many of them involving the main robo-girl wearing very little, and at least one five minute stretch where nothing happens plot-related and we just get to look at stuff, and unfortunately none of it belonging to the main robo-girl. For an 80 minute movie, I think it feels too long and too short. Too long because it seems to feel the need to just show off its detail and bring whatever momentum there is to a standstill a few times, and too short because it's freaking AWESOME!
Yes, in spite of whatever qualms I have listed, the movie is, frankly, pretty awesome. The only thing that really sucks about it is that I can't fantasize about the main robo-girl without remembering she has no sexual organs. It's the most philosophical movie to ever have naked girls making people's heads explode within the first five minutes--which in itself is pretty philosophical.
Izo (2004)
Um...
Izo is the sort of movie-thing that straddles the line between awesomeness, pretentiousness, and an as of yet unidentified third sector that cannot be described with human language.
So this time-traveling samurai dude kills a ton of people, and along the way this other dude sings nonsensical things for ten minutes at a time while sounding like he's just eaten a cat who was itself gargling nails. There's also some possibly gratuitous nudity and some certainly gratuitous scenes of swords appearing from places where they should probably not appear from.
I only have about half of an idea what Izo is about, but I think it means that Takashi Miike hates everything except slimy grown men being forced out of tiny female orifices at the ends of movies. And personally, I love him for it.
Jacob's Ladder (1990)
Jiggling face goodness!
I want to kill Macaulay Culkin. This thought occurred to me as I was watching Jacob's Ladder and realized that the only reason he is in the movie is because studio executives made them put a kid in the movie to be more relatable. He screwed up way too many good movies when he was a kid. Home Alone would have been a lot better if it was just Joe Pesci breaking into an empty house and stealing crap.
But anyway, this is Jacob's Ladder, written by the fag who wrote Ghost. (by fag of course I mean an English term for cigarette, because I want to light this guy on fire) Jacob's Ladder is a lot better than that piece of crap, and is actually a really good movie. It's just that the writer tries to screw everything up with his sorta weak ear for dialogue. Thankfully, Bruce Joel Rubin (if that is your real three names), you failed on all counts. Instead, Adrian Lyne (whose name for some reason reminds me of fabric softener) makes this into one of the best freakouts in the history of movies of the films of the cinema. Shaky head people abound. And this is the first and last time I've ever seen stubby legged drooling people and breastfeeding women crawling on the same grated ceiling at the same time. I've seen them on different grated ceilings, but this is the first movie to combine the stubby legged drooling people and the breastfeeding women in the same sequence.
Some of the imagery in this movie is just plain brilliant. And by brilliant, I mean "Known to cause Post Traumatic Stress Disorder", which is what I mean normally when I say "brilliant". But some sit questionably near scenes of Tim Robbins staring at pictures of Macaulay Culkin and crying in a non-horrified way. This is of course the fault of the studio.
Screw you, studio.
So, anyhoo, this movie also has Ving Rhames in it for a couple scenes, but for some reason it isn't quite as good as you would expect when it comes to the Ving Rhames factor. For one, I don't think he ever punctuates a sentence with "motherf**ker", and for two I don't think he ever holds a shotgun, both of which are what happens in every other good Ving Rhames- starring movie.
Okay, so the movie doesn't really have a story. But it does have things that happen or don't happen. And it has a very good idea behind it. It's one of the movies I would want to watch in the last 24 hours of my life. That twenty two of those hours will probably be porn is beside the point.
Anyway, Bruce Joel Rubin. He's just as much of a pretentious dick on the DVD documentary as you can tell he is by knowing that he wrote Ghost. His script often alternates between obvious sentimentality and juvenile dirty tough guy talk I remember writing when I was twelve and thought I could write a movie. Bruce Joel Rubin was not twelve when he wrote this movie, or at least he's the oldest twelve year old I've ever had the misfortune of seeing.
Okay, I'm exaggerating. The writing sometimes bugs me and interferes with my enjoyment of the rest of the awesome, awesome movie. But anyhoo, regardless of my nitpick (that stupid, infinitely pickable nit called Bruce Joel Rubin), it's a good freakout that keeps you in a constant state of dread, disturbance, and depression.
Unfortunately, I'm still not out of this state. Help me.
The Devil's Rejects (2005)
Nasty, nasty, nasty (now in SLOW MOTION)
Rob Zombie is now a filmmaker. Congratulations, Rob. You and your name have earned it. I still don't think your wife is an actress, or that you know the difference between great and awful dialogue, (because there's plenty of both in this one) but your new movie rocks. By "rocks", I mean "festers in its own filth for 100 minutes".
This is one of the vilest, nastiest, most demented movies I've ever seen. It's not necessarily very gory, but the whole attitude exuded by the movie is completely morally reprehensible. It glorifies the exploits of foulmouthed serial killers, ranging from necrophiliacs to murderous, repugnant fat guys in clown makeup. And it does it very well, with the kind of passion most nice, happy movies that normal godfearers see like Passion of the Jesus Being Beaten and Whipped don't even bother to muster. The dialogue in this movie is so hellbent on being offensive that it actually half-offended even me. There is not a single truly sympathetic character in the movie that isn't treated like dirt and then killed in the most brutal way possible, and I wouldn't be as happy with it as I am if it was any other way.
It's a nasty movie about nasty people doing nasty things to other nasty people. (that country band had it coming, I tell you)
Some stretches of the movie, particularly in the second half, are gratuitous and lead nowhere, and there isn't much sense of a journey the main characters take, even though it's basically a road movie. And the great finale deserves to cap off a much stronger story.
But this is a grindhouse horror flick, and compared to some of the stuff in the accepted classics of that genre, this is perfection.
I'm interested in seeing what the man does next, and I hope he makes another movie with Captain Spaulding in it, because he's the most awesome nasty clown in the history of nasty clowns and should be in every movie Rob Zombie makes for the rest of his career. Hell, now I want to make movies and put Captain Spaulding in them just to make them better. He made House of 1000 Corpses watchable.
Sheri Moon Zombie's ass should be engraved and displayed at the Smithsonian. If only I could say the same thing for her performance, which I find to be occasionally okay but mostly rather irritating and anachronistic. (she doesn't fit in the 70's at all)
But in spite of some of my quibbles, Devil's Rejects is one of the all time great cinematic step-ups. It's a lot of Last House on the Left and a little of Bonnie and Clyde, yet stands independently of either of those because neither of them have nasty clowns traumatizing little boys.
Side note: If this movie had no slow motion the running time would probably be 20 minutes shorter. Rob Zombie has made a cinematic first: a John Woo horror movie.
House of 1000 Corpses (2003)
A Confused Mess With Occasional Awesomeness
My head hurts.
This movie is like watching Rob Zombie masturbate to Texas Chainsaw Massacre for 88 minutes. As such it's sort of enjoyable, sort of icky, has its moments, and is ultimately unsatisfying. (much like masturbating to anything in general)
The plot...well, I don't think there is one. It's basically a feature length acid trip music video with some occasional gore and flashes of Rob Zombie's wife's ass. Music videos are good for about 5 minutes, not 88. The constant pointless filters and other poorly handled post- production stylistics wear thin. It's basically a slightly more entertaining version of the first movie I ever edited--a kid playing with fancy filters. It all gave me a headache.
However, there are some truly awesome parts that show that Rob Zombie is actually a filmmaker, and not just a creepy person who masturbates to horror movies and films it. For one, Captain Spaulding, who is apparently played by Sid Haig but I think he's actually played by Awesome McAwesome's soul possessing the body of Sid Haig, is a really great character, and his dialogue is fun. I'm not sure if that's because Awesome McAwesome's soul makes Sid Haig savor every line like it's Shakespeare (with more swears!) or not, but I do think it might be because the dialogue is bad enough that it actually breaks the scale of badness and becomes good again by default.
The second awesome thing is the slow motion gunfight, or, rather, the slow motion gun massacre. See, Choptop shoots Private Ryan, and then this dumb deputy, and all in slow motion set to a happy country song. The coolest part is when the scene in punctuated by a 20 second pause before he blows away said dumb deputy. It was sort of out of the blue, even for a stylistic mishmash like this, but it does show that there's some genuine passion (not merely auto-erotic) behind the camera.
The third awesome thing is Rob Zombie's wife's ass. Seriously, you see it, if I counted correctly, three times. (well, two but there's this really annoying part in one of the scenes where she stops and talks with a guy for about a minute and you don't get to see it until she walks away again, so I"ll say three) It gets even more screen time in Rob Zombie's first film, The Devil's Rejects. This is his first movie, Devil's Rejects is his first film, insomuch that it can be talked about by French people with only the base level of mockery that comes with the people talking about it being French.
I need a Tylenol.