Four Rooms

They had four chance, four cases, four jokes, how much should it hurt when none of them works.

Split into four parts, none of the writer-directors and all of them are taking responsibility of this swing and a miss. And irony is that this anthology focuses on that very subject. The introduction, the tease, the troubles and the golden parts of this phenomenon; the opportunity. And going through this whole fiasco is Tim Roth in the lead whose physical comic language is much more powerful than the verbal comic timing. To be fair, he isn’t given the ultimate lines to swoop in the room with his charms. If anything the actors he shares the screen with are the ones with all the guns in their pockets and as a result Roth gets to play with the reactions and you can base his entire performance on that.

And as far as acts are concerned, the first one is basically a punchline of the joke that it executes on a screen like some serious arthouse gloomy drama. And to be honest, I did find the bravery impressive. And if we are talking about impressive things, I loved how many double entendres could the tied up girl name in its second act which again, had the best part in its last moment. After a not-so-great start, the film collapses completely when its third and questionable act kicks in.

Most probably because it is based on the fact that the kids breaking the rules or more accurately doing what adults do, ought to be funny or interesting or even edgy. Not that there was any hope left then, but the final act of Quentin Tarantino does rattle us with its unique theme. That being, out of this Four Rooms, Tarantino breathes meaning into the conversation that is framed as a war field and just like it, it is well choreographed, in sync with a plan and is fueled by complete dose of madness shot left and right.

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