The orgy itself is both explicit and a turn off, the brothels from “Barry Lyndon” modernized.
Mum’s sexy in a “Happy Shopper” kind of way and laments the loss of her youth to parenthood.
This gradual transformation bears more than a little resemblance to the ‘body shock’ horror of David Cronenberg.
Even when Charlotte discovers that Humbert has only married her to remain close to Lolita, she still sees her as competition.
As the soldiers decide whether to take or not take the shot, a figure materialises from the shimmering haze.
Tarantino is the master of the verbal set piece, manipulating the audience with a single sentence.
The Nazis meet their ends like contestants in “Stricly Come Dancing” or Ronaldo diving for a penalty when no one is near him.
Toss in a couple of beautiful female agents, a double-crossing bastard, and the obligatory all-star cast and you have the classic World War II adventure.
“Spartacus” is no different from many other Hollywood epics, the memory of them is often better than the reality.
Here we are given our first close-up, the initial spark of human intelligence behind terrified eyes. We realise we are no longer watching apes but men.