![]() ![]() Kill Me Three Times is a film which doesn’t try to do Tarantino-esque dialogue, thankfully, but follows the formula of observing his work on a surface level without understanding the machinations behind why it works. The way that each crew member does (and doesn’t) contribute to the conversation gives an idea of who the character is and how they interact with each other. Whilst stylised dialogue is always great to listen to and fun to watch be performed, Tarantino’s dialogue gives a sense of character, usually a brief insight to their particular outlook on life.Ī great examp le of this is the opening of Reservoir Dogs, which features the full bank robbing crew together, starting on a discussion on Madonna. Kill Me Three Times is compared to Tarantino because of how similar to his work it is, without understanding why Tarantino’s films are so celebrated. source: Magnet ReleasingĬalling something a Tarantino ripoff is usually a lazy insult, people usually apply it to any film which attempts to use stylised dialogue, non-linear plot developments or violent gangster romps which have shades of comedy in them. Bryan Brown is just as wasted here as Simon Pegg, popping up in each segment with his Halloween costume cop outfit, trying to intimidate each of the cast members, being as threatening as a customer who refuses to shop at a grocery store again. Oh and corrupt cop ( Bryan Brown) bumbles around occasionally, in an attempt to make the plots more interconnected. Meanwhile, Lucy Webb ( Teresa Palmer) and Nathan Webb (a clean-shaven Sullivan Stapleton) attempt to kill Alice as well, to try to claim an insurance benefit to pay off Nathan’s gambling debts. Wolfe is contacted by Jack ( Callan Mulvey) the abusive husband of Alice Taylor (a severely miscast Alice Braga), who he wants killed as she is having an affair with mechanic Dylan ( Luke Hemsworth, the third of the acting brothers). Kill Me Three Times is a Rashomon-esque crime thriller, which centres on Charlie Wolfe, portrayed by Simon Pegg, whose comic talents are gone to waste on a character who is given nothing original or significant to do throughout the entire film, despite him and the actor playing him, being the main attraction for the film. Kriv Stenders’ latest effort, Kill Me Three Times, is a lazy Tarantino film which uses a non-linear timeline to cover up a lacklustre story, filled with one-note characters played by actors clearly chasing the rare Aussie acting paycheck. Last year’s Son of a Gun felt like a derivative of Michael Mann’s better films, without injecting any originality or elevated talent to make the film worth watching. The other type of Australian films being made are genre pictures, which Australia has always been good at, but much like the American B-Movie scene, they always fall into predictable plotlines, frequently delving into tropes and feeling like low budget rip-offs of successful American movies. The other film is Snowtown, which showed enough promise from director Justin Kurzel for American producers to allow him to make Macbeth, one of the hotly anticipated films for the upcoming awards season.Īpart from that, many Australian films other cling to their Australian roots too closely whilst not saying anything new and due to the sheer amount of quantity of these films, are widely dismissed by Australian audiences, being left to niche audiences who don’t provide enough money to have these films make financial sense. ![]() The only significant films of the past 10 years to really make any impact are David Michôd’s Animal Kingdom, which reminded audiences and filmmakers of the acting talents of Ben Mendelsohn and Jacki Weaver, who have become international stars. For the past decade, Australia has lacked films that have managed to cross international borders and bring new talent to life, which is a process which used to happen back in the day, from George Miller to Phillip Noyce. Kill Me Three Timesis a film which is the right step forward for Australian cinema, done in the worst way possible. ![]()
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