‘Kill Bill: The Whole Bloody Affair’ will finally hit screens.
Filmmaker Quentin Tarantino has worked with Lionsgate on the new version.
The combined movie experience lands in December.
It has taken more than 20 years, but the two ‘Kill Bill’ movies made by writer/director Quentin Tarantino are finally landing in theaters the way the filmmaker intended –– as one big film called ‘Kill Bill: The Whole Bloody Affair’.
While the combined version has been seen on home entertainment formats and the occasional speciality screening, this is its first wide theatrical release, via Lionsgate, which will include a seven-minute animated segment not included in the prior cinema outings of Volume 1 and Volume 2 back in 2003 and 2004.
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This was what Tarantino had to say about the new opportunity:
“I wrote and directed it as one movie—and I’m so glad to give the fans the chance to see it as one movie. The best way to see ‘Kill Bill: The Whole Bloody Affair’ is at a movie theater in Glorious 70mm or 35mm. Blood and guts on a big screen in all its glory!”
Uma Thurman stars as The Bride, left for dead after her former boss and lover, Bill, ambushes her wedding rehearsal, shooting her in the head and stealing her unborn child.
To exact her vengeance, she must first hunt down the four remaining members of the Deadly Viper Assassination Squad before confronting Bill himself. With its operatic scope, relentless action, and iconic style, ‘The Whole Bloody Affair’ stands as one of cinema’s definitive revenge sagas — rarely shown in its complete form and now presented with a classic intermission.
What else is happening in Tarantino’s movie world?
Brad Pitt as Cliff Booth in ‘Once Upon a Time in Hollywood.’ Photo: Sony Pictures.
While the filmmaker is still making decisions about his cinematic future –– he scrapped one planned movie, ‘The Movie Critic’ and is considering other options including stage work and novels –– his cinematic universe rolls on.
On Netflix July 2nd is ‘The Old Guard 2’, a sequel to the 2020 movie derived from Greg Rucka and Leandro Fernandez’ graphic novel series about immortal warriors who learn that their existence has been discovered even as they find a new member of their kind.
When it arrived in the pandemic-darkened days of 2020, ‘The Old Guard,’ while not perhaps the most exemplary example of graphic novel adaptation to bother screens, at least had some spark and vitality to it, anchored by Charlize Theron strutting about as an immortal warrior who after walking the Earth for several thousand years was using her powers of near invulnerability as a badass who took down terrible people along with a group of similarly powerful colleagues.
It was certainly fun enough, but now here comes the inevitable sequel –– five years later, which is cause for red flags flying from the get-go –– but perhaps it earned the benefit of the doubt, since taking time to make sure a movie is right is always more preferable to rushing a quick cash-in into production.
Sadly, what has emerged is no worthy follow-up to that original release.
Greg Rucka, from whose work (alongside illustrator Leandro Fernandez) the movies are inspired, returns to script the new entry, this time with Sarah L. Walker (‘The Twelve’).
But though you might think Rucka has the same handle on the characters he created as he did last time, this one is unfortunately burdened with even more exposition, as the movie awkwardly tries to expand the story’s universe, but comes up with an idea that only really serves to snip dangling plot threads from the first movie in ugly fashion while also creating some villain motivation.
The story pauses between honestly disappointing action scenes to have characters sit around and talk in boring fashion about what’s happening. And half the people in the movie seem designed to do little other than shoot or stab enemies and then push the plot forward in the laziest fashion.
Perhaps the most egregious fault here is how the film ends, the final scene a giant cliffhanger (with no third movie officially ordered, mind you) and the story left unsatisfying and largely pointless. The intention may have been to drive excitement for another outing, but you’re more likely to come away not bothered what happens next.
Victoria Mahoney, taking over the director’s chair from the original’s Gina Prince-Bythewood, doesn’t exactly cover herself in glory for her second feature directorial outing after 2011’s ‘Yelling to the Sky.’ It’s competent enough work, making use of a few picturesque shooting locations, but the set-pieces all feel similar apart from one or two entertaining stunt moments.
Charlize Theron is seemingly strictly on autopilot this time around –– the odd quip here or there early on quickly jettisoned in favor of less-than-thrilling stone-cold solemnity. Sure, her character has lived for thousands of years and –– spoiler alert for the end of the previous movie –– learned that she’s no longer immortal, but it has also reduced Andy to a hollow version of her previous self. And it’s an issue even Theron’s considerable talents can’t overcome.
KiKi Layne as Nile, the immortal that Andy and her team discovered in the last movie and is now a member of their mercenary force taking down arms dealers and the like, gets in a few decent moments, but like everyone else, once the plot really kicks in, the energy drains out.
Chiwetel Ejiofor, the mortal operative who learned of the immortals’ existence, is largely hanging around providing clues and information via his contacts or trying not to die. He’s less a character, more a plot device.
The same could be said for poor Henry Golding (‘Crazy Rich Asians’), as Tuah, a new immortal we meet who has dedicated his incredibly long life to chronicling the ancient warriors like someone writing a fanzine. He’s saddled with even more exposition and even when he’s called upon to fight, his style is so similar to everyone else’s that it all blends into one.
Spare even more of a thought for Uma Thurman –– if you thought there was the tantalizing prospect of ‘Kill Bill’s Beatrix The Bride” Kiddo taking on Furiosa, then you have to wait until right at the end for a slapdash confrontation. Mostly, Thurman barks orders or delivers her own dollops of exposition with little conviction.
Flavorless and indistinct, this sequel has all the driving passion of a cold lump of concrete. The humor that marked the original has seemingly been surgically extracted, replaced with rote exposition and a dull expansion of the mythology.
Possibly the most famous franchise focused on immortal warriors uses the catchy phrase, “there can only be one.” On the evidence of ‘The Old Guard 2’, perhaps there should only have been one.
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What’s the story of ‘The Old Guard 2’?
Andy (Charlize Theron) and her team of immortal warriors are back, with a renewed sense of purpose in their mission to protect the world.
With Booker (Matthias Schoenaerts) still in exile after his betrayal, and Quynh (Veronica Ngô) out for revenge after escaping her underwater prison, Andy grapples with her newfound mortality as a mysterious threat emerges that could jeopardize everything she’s worked towards for thousands of years.
Andy, Nile (KiKi Layne), Joe (Marwan Kenzari), Nicky (Luca Marinelli) and James Copley (Chiwetel Ejiofor) enlist the help of Tuah (Henry Golding), an old friend who may provide the key to unlocking the mystery behind immortal existence.
But at long last, the streaming service has announced when it’ll be headed our way, and posted some pictures of the new movie.
And star Charlize Theron has also commented on the return of her character, the long-lived warrior who in the 2020 original, faced her existence coming to light and a threat to her team as a potential new immortal came on the scene.
Here’s what she had to say:
“There’s something for everyone in this movie: Fans who loved the first film, fans who love the original graphic novels — and brand-new fans who are looking for insane action, grounded and relatable characters, gorgeous locations, and a global cast of superstars.”
And this was her statement on the new developments this time around:
“We’re going to meet some brand-new characters,” she teased. “Quyhn is back and her story continues, and we’re all excited to have Uma Thurman and Henry Golding join us as two key new players in the ‘Old Guard’ universe. Andy and her warriors are back with a renewed sense of purpose. The stakes are even higher now that Andy is mortal and can die — but that certainly won’t keep her out of the action.”
Andy (Charlize Theron) and her team of immortal warriors are back, with a renewed sense of purpose in their mission to protect the world. With Booker (Matthias Schoenaerts) still in exile after his betrayal, and Quynh (Veronica Ngô) out for revenge after escaping her underwater prison, Andy grapples with her newfound mortality as a mysterious threat emerges that could jeopardize everything she’s worked towards for thousands of years.
The movies adapt the work of comic book/graphic novel writer Greg Rucka and illustrator Leandro Fernandez, who created the world of Andy and the rest.
Back in 2020, the first movie became a pandemic-era hit, as audiences turned to streaming to increasingly meet their entertainment needs. That one was written by Rucka, with Gina Prince-Bythewood in the director’s chair.
“We ended the first film with some radical changes to the status quo. Andy’s mortality has mysteriously left her, Nile has become immortal and joined the group, and Booker’s been punished for his sins by being sent into exile, which is pretty much the worst thing you can do to people who live for hundreds and hundreds of years.”
And this was Mahoney’s comment:
“My mandate every time we went out the door to scout was, ‘I do not want to visit any locations, routinely seen as an audience member in a number of my favorite films.’ I relentlessly pushed toward the unexpected.”
While Thurman’s character –– beyond the fact she’ll be a key component in the story –– is a mystery for now, we do know Golding is aboard to play Tuah, an enigmatic figure who has been researching the immortals. Golding brought his own personal background to the character, even going as far as helping to name him.
Golding said this of the role:
“When Victoria Mahoney and I had our first Zoom call, we went over the character, and originally we didn’t have a name for him. That came a little bit later because Vic really wanted to know who I was, and how this character could represent parts of my life. In the end, I suggested his character be called Tuah, which in Malaysian means ‘luck.’ ”
When will ‘The Old Guard 2’ arrive on screens?
‘The Old Guard 2’ will land on Netflix globally on July 2nd.
(L to R) Patrick Macnee as John Steed and Diana Rigg as Emma Peel in ‘The Avengers.’ Photo: ABC Television.
Preview:
‘The Avengers’ is returning to TV.
‘Industry’ writers Mickey Down and Konrad Kay are behind the show.
The quirky spy series reboot has yet to find a broadcast home.
When you see word that something called ‘The Avengers’ is getting a reboot, you’d be forgiven for wondering whether Marvel is looking to re-invent itself and bringing in new versions of Tony Stark and co. While in this Multiverse-happy world that’s not out of the realms of possibility, this ‘Avengers’ is nothing to do with the MCU.
(L to R) Diana Rigg as Emma Peel and Patrick Macnee as John Steed in ‘The Avengers.’ Photo: ABC Television.
The original series, which ran between 1961 and 1969 on ITV in the UK and was created by Sydney Newman. It initially focused on David Keel (Ian Hendry), aided by John Steed (Patrick Macnee). Hendry left after the first series; Steed then became the main character, partnered with a succession of assistants.
His most famous assistants were intelligent, stylish, and assertive women: Cathy Gale (Honor Blackman), Emma Peel (Diana Rigg), and Tara King (Linda Thorson).
A sequel series, ‘The New Avengers’, ran for one season between 1976 and 1977.
While it began as a more down-to-earth espionage series, it became increasingly fantastical, resembling something like the 1960s ‘Batman’ series or the BBC’s ‘Doctor Who’. In the US, it aired on ABC, one of a limited number of British shows to be picked up for primetime in the States.
A big success, it led to all manner of spin-offs, including comics, radio plays and more. It even became a movie, though the 1998 cinematic offering starring Ralph Fiennes as Steed and Uma Thurman was infamously a giant flop, failing to make back its $60 million budget and generating zero sequels.
(L to R) Ralph Fiennes as John Steed and Uma Thurman as Emma Peel in ‘The Avengers.’ Photo: Warner Bros.
Who is working on the new ‘Avengers’?
(L to R) Patrick Macnee as John Steed and Diana Rigg as Emma Peel in ‘The Avengers.’ Photo: ABC Television.
The new series comes from writers Mickey Down and Konrad Kay, who have impressed audiences via HBO series ‘Industry’. They’re working alongside ‘Sex Education’ veteran Ben Taylor, who serves as co-creator and will oversee the directing side.
Despite the two main writers’ connection to HBO, the cable channel hasn’t picked up the series, which is being produced by StudioCanal. There’s still a chance that Warner Bros. Discovery (which backs one of the companies involved in the new show) or even Netflix could snap this one up.
When will this new ‘Avengers’ be on screens?
That, right now, is impossible to judge as not only has the series not started shooting, but it has no broadcast home at this point. But given the recognizable title, we’d expect plenty of interest from networks and streamers.
(L to R) Diana Rigg as Emma Peel and Patrick Macnee as John Steed in ‘The Avengers.’ Photo: ABC Television.
The movie follows an art dealer (Uma Thurman) who teams with a hitman (Joe Manganiello) and his boss (Samuel L. Jackson) for a money laundering scheme that accidentally turns the hitman into an Avant-Garde sensation, forcing the dealer to play the art world against the criminal underworld.
Moviefone recently had the pleasure of speaking with director Nicol Paone about her work on ‘The Kill Room,’ her first reaction to the screenplay, the art world, if the plot could happen in real life, location scouting, working with Uma Thurman, pairing her with her daughter Maya Hawke and reuniting her with ‘Pulp Fiction’ co-star Samuel L. Jackson, and why Joe Manganiello was perfect for his role.
(Center) Director Nicol Paone on the set of Shout! Studio’s ‘The Kill Room.’
You can read the full interview below or click on the video player above to watch the interview.
Moviefone: To begin with, what was your first reaction to the screenplay and the humor jump off the page or did you find that in production?
Nicol Paone: Jonathan Jacobson wrote a brilliantly fantastic script. So in the first scene, he had something at the end, like the legs kicking to the music, and I thought, “Oh, this isn’t just one of those, shoot them up, kill them, male, we’re going to kill people movies.” It has this clever tone to it. Then once I got my hands on it, Jonathan and I explored that even more. But to be fair, it was all there on the page.
MF: The story follows an art dealer who uses her gallery to launder money. Has that ever happened in real life? Do you think it could?
NP: Personally, I think it could happen. The reason why Jonathan wrote the script was because he read an article where this woman was stabbed at Art Basel, and she walked around for, I don’t know how long, but people thought it was an art piece. His wife owns an art gallery, and so he’s ensconced in the world. He thought, “What a great way to kind of send up the world.” Truly, I think it could happen, actually. I mean, the ridiculousness of it is, I don’t think people going to an art fair would even think that that could happen. But strangely, we were supposed to shoot at Art Basel and they didn’t really have a problem with the murder (in the script), they had more of a problem with the tax evasion, which I thought was very interesting. Thou dost protest too much.
(L to R) Samuel L. Jackson as Gordon Davis and Uma Thurman as Patrice Capullo in Shout! Studio’s ‘The Kill Room.’
MF: How would you describe the unusual alliance and eventual friendship that forms between Patrice, Gordon and Reggie?
NP: They definitely have a kinship. Well, I think where we are in the world now with strikes and everything kind of getting a spotlight on it, I keep saying art and creativity is more than just art and creativity. It can solve anything if we come to the table with our gripes, grievances, fears, wants, needs, desires, and work it out, like the human beings and the family that we are. So that’s truly what Reggie and Patrice do. They’re both in predicaments, and Gordon, even though he’s kind of leading the charge, pulling some strings, he is a soft sweetheart too. The three of them are all really in a predicament, and they are pushing each other’s buttons and forcing each other to kind of go to the next level. Patrice is forcing Reggie to see himself as something different, and he does through the art world, and through the art that he accidentally makes, they get through it. I think it’s analogous to what we should be doing right now in this world.
MF: What was your experience like working with Uma Thurman?
NP: She is an icon. I think she’s one of the greatest actresses of our time. I think her performance in ‘Kill Bill’ is legendary. There was nothing, really, that she wouldn’t try or do. She was up for anything. It was fun. She brought so many levels to this character that, truthfully, on the page, it was all there. Patrice is a complex character, and that’s what attracted Uma to it. So there are many times in the movie where I take the dialogue out of one take and put it in Uma’s mouth on another, and the camera’s on her. So Uma gave varied performances, but with the same rhythm and it matches the words. That is just other level mastery that I don’t know how many people achieve. But she was a champion of the project from the start, and I am truly grateful for her for saying yes.
(Center) Uma Thurman as Patrice Capullo in Shout! Studio’s ‘The Kill Room.’
MF: Can you talk about pairing her with her daughter, Maya Hawke? What was it like shooting them together in the same scene?
NP: It was brilliant, and it was lovely. It was fun to watch and experience, and help navigate and guide. Maya is wise beyond her years, and she has so many layers to herself and her craft. I love the way they both are coming on screen together. It’s not some precious mommy-daughter role. It’s two acerbic women, strong, capable, three-dimensional characters coming together on screen. I think there was one point when we were filming, they were both holding their hands the same way, and it was funny.
MF: You also had an opportunity to reunite Uma Thurman with her ‘Pulp Fiction’ co-star Samuel L. Jackson. Can you talk about their chemistry and what they were like together on set?
NP: It was thrilling. I remember our first rehearsal, Uma, she went and she locked the door. She turned and she was like, “Let’s get Sam.” It took all the air and any of the nervousness that I had had out. Just getting to work with them, it was one of the greatest creative experiences of my life, in that as a director, you hope that your team and the people behind you support you and get on board. They were on board from the start. Whatever I wanted and needed, they gave me. Not only in the way in which I thought I wanted, but they took it maybe five, ten steps further, and gave me everything and more. They’ve seen it all and they know it all. So just being in that rarefied air, and not having to explain what I need. They anticipated everything I needed and more, and that only comes from experience. They’ve truly seen it all, and they put it all out there on screen. Truly, I could’ve kept a lot of the scenes just in the masters, just watching them in the quiet moments. Even with adding Joe to that layer, there were several three shots that I truly could have just had the scene play out in a master, because they were all just giving me so much.
(L to R) Uma Thurman as Patrice Capullo and Samuel L. Jackson as Gordon Davis in Shout! Studio’s ‘The Kill Room.’
MF: Sam Jackson’s character has a very specific look and style. Was that in the script or did Mr. Jackson create that on his own?
NP: No, it was all talked about and all discussed. That character started out as Herschel, a 72-year-old Jewish man. Then when Uma came on board, she was like, “Is Sam Jackson an option?” That was her question to me. I was like, “Yes, Sam Jackson is most definitely an option.” So Jonathan and I, over one day, right before the Christmas break, rewrote the script with Sam in mind. So that’s when he became The Black Dreidel, and spoke Yiddish. With that information, then we talked about the look. Sam has an incredible team, and they came with the beard, and we all just kind of went from there. That’s what ended up on screen and I think it’s perfect.
MF: For you as a director, why was Joe Manganiello the right actor to play his role?
NP: Joe is a brilliant, classically trained actor, and I don’t think many people know that. I thought it would be really fun for people to see that, because it’s all under there. We were very careful not to keep him in t-shirts, and I didn’t want him shirtless or any kind of anything. We just wanted Joe to be Reggie, like we knew Joe could. I thought he played it so well, and his layers were fantastic. There are some tonal shifts for him as a character. He’s funny. He gave certain funny looks. When Gordon says, “Who would pay for that crap?” He’s like, “Hey.” Just all of those things that Joe gave, I think the audiences are going to really eat it up. I think when you’re a fan of someone, you want to see them in different tones and layers and levels, and I think this is real fun for the fans of Joe Manganiello to go and see.
Joe Manganiello as Reggie Pitt in Shout! Studio’s ‘The Kill Room.’
MF: Finally, can you talk about location scouting and which location was the hardest to get access to and shoot?
NP: That is a great question. I think the hardest, there were two. So the first program gallery, from LA, I was online and looking, and there were so many galleries in New Jersey that I knew were perfect, so that’s why I was like, “Yeah, we can definitely shoot this in New Jersey.” I’m a New Jersey native, and so I wanted to bring Sam and Uma home. So from LA, I was like, “Absolutely, we can shoot this in New Jersey.” But then when we got on the ground, it was like one place burned down, the other place, it was sort of like a commune. There were so many reasons why we couldn’t shoot in the places that I thought we could. The place that was called Field Colony in Hoboken, that was a workspace, like a co-working space. My production designer, Maite Perez-Nievas, she turned it into an art gallery, and she did it so quickly and so brilliantly. But we were down to the wire on that one, and it was important to have a space that was connected to the street, that also had the office where she could see. So that’s really specific. Thankfully, the folks at Field Colony were 100% up for us just coming in and completely changing their space around. Then the second one that was hard was the Art Basel space. We ended up shooting at a production space. It was basically large and almost looked like an airport hangar. So again, my production designer, we had to do 3D renderings and build the walls, and build that inside room within that Art Basel space. It was very challenging, but I think she did an incredible job with what little money we had, and I think it looks incredible.
Director Nicol Paone on the set of Shout! Studio’s ‘The Kill Room.’
(L to R) Henry Golding and Uma Thurman join Netflix’s ‘The Old Guard 2.’
Debuting in the pandemic-rocked summer of 2020, action movie ‘The Old Guard’ was a bit hit for Netflix, with the streaming service reporting audiences watching it for more than 186 hours during the first month the film was out.
A sequel was quickly commissioned, and thanks to Netflix’s Geeked Week news releases, we now know that Uma Thurman and Henry Golding will be part of the cast.
Gina Prince-Bythewood’s original movie, based on the graphic novel series created by Greg Rucka and Leandro Fernández, follows Andromache of Scythia, (AKA “Andy”, played by Charlize Theron), who has been around since the 8th century BCE. Along with her immortal companions, she’s making amends for past violence and trying to make the world better, her team acting as secret superheroes who occasionally get their hands dirty. Their presence is revealed just as a potential new immortal (KiKi Layne’s Nile) comes on the scene and ultimately ends up joining the team.
At the end of the first film, Andy lost her immortality and discovered that her old friend Quynh (Veronica Ngo), believed to be lost forever, was back and, as you might understand, a little miffed at having spent centuries locked in a chest at the bottom of the ocean, with a potential conflict brewing against Andy. And then there’s Booker (Matthias Schoenaerts), who had had enough of do-gooding and turned against the rest.
How Thurman and Golding fit into the story as it moves forward isn’t yet known, though if you wanted, you could hunt through the graphic novels for clues. Rucka has once more written the script, but with Prince-Bythewood busy, ‘Lovecraft Country’s Victoria Mahoney is taking on directing duties this time around.
Thurman and Golding both have action credentials, even if they’ve been known for other genres. ‘Kill Bill’ cemented Thurman as someone who knows how to swing a sword and kick plenty of butt, and she’s occasionally had the chance to demonstrate those skills since. The world of ‘The Old Guard’ certainly feels like a good fit for her, and if all involved has thought this through, the chance to see a Theron vs. Thurman smackdown would not go amiss.
Golding, meanwhile, broke out in ‘Crazy Rich Asians’, but trained hard for last year’s ‘G.I. Joe’ spin-off ‘Snake Eyes’ and while the movie itself didn’t really impress fans, it wasn’t for lack of Golding’s effort.
The ‘Old Guard’ follow-up should be shooting soon, so if you see Charlize Theron on a street kicking ass, it’s not just her morning workout routine.
Netflix has yet to reveal when the new movie might hit its servers, but we can imagine the company will want to launch the sequel in 2023.
Uma Thurman in 2003’s ‘Kill Bill: Volume 1.’
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(L to R) Kunal Nayyar, Elizabeth Henstridge and Tom Rhys Harries Promoting ‘Suspicion,’ which premieres on Apple TV+ February 4th.
Premiering February 4th on Apple TV+ is the new series ‘Suspicion,’ which is based on the Israeli series, ‘False Flag.’ The series follows five people whose lives are turned upside down after London police identify them as suspects in the kidnapping and disappearance of an American media mogul’s son.
Moviefone recently had the opportunity to speak with actors Kunal Nayyar, Elizabeth Henstridge, Tom Rhys Harries, and Noah Emmerich about their work on ‘Suspicion.’
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You can read the full transcript of our interview with Kunal Nayyar, Elizabeth Henstridge, and Tom Rhys Harries below, or watch all the interviews in the video played above.
Moviefone: To begin with, Elizabeth, can you talk about the incident that brings these five strangers together in the series?
Elizabeth Henstridge: Well, I was in this show called ‘Suspicion,’ where Uma Thurman plays a corporate PR strategist. She’s a very powerful woman who has just been named US ambassador to the UK. Her son has been kidnapped. We play British citizens that happen to be in New York on the day that Leo was kidnapped. Then we are accused of this crime, or at least suspects of this crime.
So we kind of follow how that unfolds for Uma Thurman’s character, Catherine Newman. You see the impact it has on our lives and the lengths that you go to, to try to clear your name and how difficult that is when the truth is being blasted all over social media, which might not be your truth. It’s hard to know who to believe in and what is the truth.
MF: Kunal, the show deals with the theme of trust. Can you talk about the level of trust between these five strangers when they first meet?
Kunal Nayyar: It’s difficult, again, to speak about these things without giving spoilers away. But obviously as you see these characters and the journey that they’re on, I think that the level of trust switches, it’s not so black and white. I think it’s a gray area. I think all we know is that they need each other.
They definitely need each other to accomplish whatever it is that they’re trying to accomplish, whether it’s clearing their name or actually trying to get the job done, we don’t necessarily know. So I think the level of trust shifts every episode, and I think for the audience perception, it’ll be impossible for them to tell who trusts who, who’s done what, and who’s responsible for the end game.
MF: The series also deals with the themes of technology and surveillance, and how we deal with them in our modern society. Tom, can you talk about how those themes affect these five strangers?
Tom Rhys Harries: Well, yeah. The surveillance and the social media and our digital footprint paper trail, it’s become sort of so interwoven with how we lead our day-to-day lives and very quickly. If you’d have told someone 20 years ago that most of us would be kicking about with a piece of tech that’s worth however much it’s worth in your pocket, I think people wouldn’t have believed it. Also, the amount of information that we have access to. That comes with really difficult questions that we have to ask as a society.
I think it’s important for us to be asking these big questions, particularly for a younger generation, because I don’t think we’ve quite cracked it yet on how to manage surveillance, the ethical issues and moral issues of all of that. I think what I really dig about the show is that it’s asking a lot of big questions about these very current themes that are prevalent in society and it feels very timely. That this show is coming out when it is coming up.
MF: Another theme in the series is truth. Kunal, can you talk about that and how your character really learns the truth about himself?
KN: Look, it’s a very good question, really. I think you have to be lost to be able to be found, and I think that’s what we see in this character. He’s definitely lost and because he’s lost, he finds purpose in something that you don’t know if it’s good, you don’t know if it’s bad, and that’s the beauty of this show.
Even when you figure out what happens and who did it and how it happens, you still don’t necessarily leave feeling like, “Oh, that was the right thing to do.” Or, “that was the wrong thing to do.” That kind of narrative, that kind of perception is going to be very individual and very individualistic.
MF: Elizabeth, ‘Suspicion’ could easily have been done as a movie, but it would have had to be condensed for time. What has it been like for you to do it as a series and have more time to develop your characters?
EH: Oh, it’s brilliant. I love TV for that reason. That you can explore big themes and then also things where you can discover so much about your character. Aadesh faces the truth or finds the truth out as we go, but as an actor that’s just such a gift to be given all that time with his character and to go through such extreme circumstances.
I think it suits itself perfect to a mini-series in that we’d lose so much at being a movie, but then with it being eight episodes, it’s a very intense week in these people’s lives. I think that it keeps the suspense and it keeps the pace and, hopefully week-to-week, people are going to be shocked.
KN: That’s why we were talking about how much we love the fact that it’s a show like this. A show like this, it’s perfect that it’s coming out one week (at a time). I mean, except for the initial two episodes. I think that is going to really lend to the stakes.
(L to R) Tom Rhys Harries, Kunal Nayyar, Georgina Campbell, and Elizabeth Henstridge in ‘Suspicion,’ which premieres on Apple TV+ February 4th.
Based on a manga of the same name written by Kazuo Koike and illustrated by Kazuo Kamimura, and a huge inspiration on Tarantino’s Kill Bill films, this Japanese classic stars Meiko Kaji as Yuki Kashima, aka Lady Snowblood. Told in a non-linear fashion, the film follows Yuki as she seeks vengeance on the gang of men who raped her mother and killed her father and brother. It was such a smash hit that the next year a sequel, ‘Love Song of Vengeance’, was released.
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Written and directed by Luc Besson (‘The 5th Element’), this film not only launched an English language remake and two television shows, but also reignited the subgenre of female assassin films. When a robbery goes awry, junkie Nikita (Anne Parillaud) kills a police officer, finding herself locked up for life. However, while in prison, her death is faked, and she’s forced to work as a sleeper agent for a secret government agency. And that’s just the beginning.
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Inspired by the Besson’s breakout hit, this American take on the story stars Bridget Fonda (‘Jackie Brown’) as Maggie, again a drug addict convicted of murder. After her death is faked, she finds herself working for a spy named Bob (Gabriel Byrne) and trained to be a ruthless assassin by a woman named Amanda (Anne Bancroft). Like in its French predecessor, Maggie fights against her new life towards freedom.
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Geena Davis as Charly in ‘The Long Kiss Goodnight’
From a screenplay by Shane Black (‘Lethal Weapon’, ‘Iron Man 3’), this cult film stars Geena Davis as amnesiac school teacher Samantha Caine who discovers she’s actually a deadly CIA assassin after a bump on the head brings all her memories flooding back. With the help of skeevy private eye Mitch Henessey (Samuel L. Jackson), she slowly rediscovers her old life and finds herself in a deep and twisted conspiratorial web.
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Black Mamba aka The Bride aka Beatrix Kiddo (Uma Thurman) in ‘Kill Bill Vol. 1 & 2’ – 2003/2004
Uma Thurman as Beatrix Kiddo aka The Bride (Code Name: Black Mamba) in ‘Kill Bill Vol. 1’
Released in two volumes, Quentin Tarantino’s iconic homage to grindhouse cinema stars Uma Thurman as the Bride, who upon waking up from a comma goes on a revenge-fueled killing spree against the team of assassins (Lucy Liu, Michael Madsen, Daryl Hannah, and Vivica A. Fox) who tried to kill her and her unborn child. On the top of her revenge list is her old boss and one-time lover Bill (David Carradine). Filled to the brim with gore, this franchise was a worldwide box office success, and has since become a midnight movie staple.
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Angelina Jolie as Jane Smith in ‘Mr. & Mrs. Smith’
Spawning two TV remakes – the short-lived 2007 version starring Martin Henderson and Jordana Brewster, and an upcoming remake starring Donald Glover and Phoebe Waller-Bridge – it’s impossible to top the scorching chemistry of stars Angelina Jolie and Brad Pitt. While in the midst of marriage counseling, John and Jane Smith (Jolie & Pitt) discover that they are both actually deadly assassins working for rival companies. When they both botch the same job, they’re then assigned to kill each other. That’s certainly one way to add a spark back to a marriage!
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Angelina Jolie is no stranger to this genre (see also the spy thriller ‘Salt’), so you just have to include this visually bonkers adaptation of the comic series of the same name by Mark Millar and J. G. Jones. James McAvoy plays Wesley Gibson, an anxiety-ridden man in a dead-end job. One day, a mysterious woman named Fox (Jolie) informs him that his deceased father was a world-class assassin and that he’s in danger unless he trains with her and takes over his father’s legacy.
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Co-written and produced by Luc Besson, ‘Colombiana’ follows 9-year-old Cataleya Restrepo (Amandla Stenberg) from Colombia, who becomes an orphan when her family is killed by a drug lord. Avoiding the foster system, she tracks down her uncle (Cliff Curtis) in Chicago, who trains her to kill. 15 years later, grown up Cataleya (Zoe Saldana) is now an accomplished assassin, hellbent on seeking revenge against those who murdered her family.
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Later made into a TV series, this film stars Saoirse Ronan as the titular Hanna, whose father, ex-CIA operative Erik (Eric Bana), raises her as an assassin in the wilderness of northern Finland. When Marissa Wiegler (Cate Blanchett), also with the CIA, tracks them down, Hanna learns the truth about her origins.
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Mary Goodwin (Taraji P. Henson) in ‘Proud Mary’ – 2018
Taraji P. Henson as Mary Goodwin in ‘Proud Mary’
With nods to Blacksploitation classics like ‘Coffy’ and ‘Foxy Brown,’ Taraji P. Henson stars as Mary Goodwin, an assassin employed by the mob in Boston. After taking care of business one day, she notices her target has a young son named Danny (Jahi Di’Allo Winston). Mary watches over the boy from afar, but when he finds himself dragged into the underworld himself, she starts to question everything she thinks she knows about her employers.
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Robert De Niro has had a long and storied film career, often playing tough guys. But he may have finally met his match! In the trailer for ‘The War with Grandpa’ we see De Niro’s Ed take on his grandson Peter in a no-holds-barred fight over who will get the bedroom that used to belong to young Peter.
Here’s the official synopsis:
Sixth-grader Peter (Oakes Fegley) is pretty much your average kid-he likes gaming, hanging with his friends and his beloved pair of Air Jordans. But when his recently widowed grandfather Ed (Robert De Niro) moves in with Peter’s family, the boy is forced to give up his most prized possession of all, his bedroom. Unwilling to let such an injustice stand, Peter devises a series of increasingly elaborate pranks to drive out the interloper, but Grandpa Ed won’t go without a fight. Soon, the friendly combatants are engaged in an all-out war with side-splitting consequences.
Based on the award-winning book by Robert Kimmel Smith, The War with Grandpa is a hilarious family comedy featuring an all-star supporting cast: Christopher Walken, Uma Thurman, Rob Riggle, Cheech Marin, Laura Marano and Jane Seymour.
‘The War with Grandpa’ opens nationwide on October 9.
It’s now been 15 years since director Quentin Tarantino wrapped up the “Kill Bill” saga in “Kill Bill: Vol. 2.” And whether you treat them as two movies or one complete epic, they remain some of the greatest martial arts movies ever made. So celebrate this big anniversary by learning some interesting facts about this violent, tragic second part.
1. Tarantino’s friend and frequent collaborator Robert Rodriguez agreed to help score the film for a salary of $1. In exchange, Tarantino agreed to direct a scene in 2005’s “Sin City” for the same price.
2. The character Pai Mei is largely inspired by Pak Mei, a popular villain in Chinese folklore. His martial arts style is also based on that of the late Bruce Lee, who was renowned for his “One-Inch Punch” technique.
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3. The original script paid homage to badly dubbed martial arts movies by having Chia Hui Liu recite Pai Mei’s lines in Cantonese and Tarantino himself dubbing over them in English.
4. The original script also includes a scene that explains why The Bride is no longer driving the Pussy Wagon in “Vol. 2” It turns out it was destroyed by Go-Go Yubari’s sister Yuki.
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5. Another deleted storyline involves a confrontation between Bill and Michael Jai White playing the character Black Dynamite. One of these scenes is included as an extra on the DVD release.
6. Tarantino originally cast Ricardo Montalban as brothel owner Esteban Vihaio. But when Michael Parks filled in for Montalban at a script reading, Tarantino liked his performance so much he decided to give him the job instead.
7. If the rivalry between The Bride and Elle seems especially believable in the movie, it’s because Uma Thurman and Darryl Hannah reportedly feuded throughout production and refused to be in the same room except when filming scenes together.
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8. Eagle-eyed viewers might spot a gasoline can in Budd’s trailer. This is the same can Michael Madsen‘s character used in 1992’s “Reservoir Dogs” when he attempted to burn a police officer alive.
9. The film includes another nod to “Reservoir Dogs” when Budd tells the bride the kneecap is the most painful place to be shot. In “Reservoir Dogs,” Harvey Keitel‘s character Mr. White says the same thing about the stomach.
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10. Whereas The Bride kills dozens of people in the first movie, Bill is the only person she kills in the sequel.
11. Beatrix and her daughter can be seen watching 1981’s “Shogun Assassin” on the TV at the end of the film. According to David Carradine, the original plan was to show 1970’s “The Aristocats” instead, but Disney prevented its inclusion.
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12. Tarantino has discussed plans for a follow-up to the “Kill Bill” duology, which would focus on an adult Nikki Bell seeking vengeance against the Bride for the death of Vernita Green. But while he once suggested the sequel might be released in 2014 (the tenth anniversary of Vol. 2), as of 2019 the sequel still hasn’t materialized.
13. Tarantino has also expressed in interest in producing anime movies that reveal the origin stories of both the Bride and Bill.
