Contrasting Perspectives

Spike Lee’s filmmaking is profoundly informed by his identity as an African American man, using cinema as a potent platform to amplify Black voices and expose societal injustices. His works, such as Do the Right Thing and Malcolm X, dissect themes of racism, class disparities, and the Black experience with an unflinching honesty, often delivered through a dynamic visual language that blends realism with poetic flourishes. He sees cinema not simply as entertainment but as a tool for social change, challenging audiences to confront uncomfortable truths. This commitment to social commentary is woven into the fabric of his narratives, shaping his characters, themes, and distinctive visual style.

Quentin Tarantino, conversely, adopts a more postmodern, genre-bending approach, drawing inspiration from a melting pot of cinematic influences, ranging from spaghetti westerns and blaxploitation films to kung fu movies. He views himself as a cinematic “hip-hop artist”, “sampling” and remixing elements from diverse genres to craft something wholly original. While Tarantino acknowledges the gravity of historical events like slavery, he believes that tackling them head-on, even if controversially, can facilitate healing and dialogue. His approach prioritises style and entertainment, weaving social commentary into the subtext rather than foregrounding it with the same directness as Lee.

The Genesis of a Feud

The roots of their discord can be traced back to the early stages of Tarantino’s career, with Lee expressing disapproval of Tarantino’s frequent use of the N-word in films like Reservoir Dogs, Pulp Fiction, and True Romance, the latter of which Tarantino wrote but did not direct. This artistic choice was a point of particular contention for Lee, who felt its usage was excessive and insensitive. Tarantino, however, defended his decision, arguing that it reflected the authentic language of the characters and environments he depicted.

Their clash intensified with the release of Tarantino’s Django Unchained, a spaghetti western set against the backdrop of slavery in the Antebellum South.6 While Tarantino intended to confront the brutality of American history through this genre lens, Lee dismissed it as trivialising and disrespectful to the historical trauma of slavery, stating, “slavery is not a spaghetti western.” Lee refused to see the film, highlighting the profound difference in their perspectives.

The tension surrounding Django Unchained was further amplified by a historical anecdote from the set of Crimson Tide, a film on which Tarantino did rewrites. Denzel Washington, who has collaborated with both Lee and Tarantino, reportedly stopped production to confront Tarantino over his use of the N-word. This incident, coupled with similar concerns raised by Samuel L. Jackson, who also worked on Django Unchained, illustrates the persistent unease surrounding Tarantino’s approach.

Beyond the N-Word

The heart of their conflict extends far beyond the use of a single word. It underscores a fundamental divergence in their filmmaking philosophies and their understanding of the relationship between art and social responsibility. Tarantino’s penchant for genre-bending and stylistic experimentation, often blending violence with dark humour, has led some to accuse him of exploiting sensitive subject matter for entertainment value. Lee, on the other hand, consistently prioritises authenticity and social responsibility, aiming to represent marginalised communities with the nuance and respect they deserve.

Their contrasting views mirror a wider societal discussion about the role of art in addressing social issues. Should filmmakers avoid sensitive topics or tackle them head-on? Is it possible to entertain while simultaneously promoting social change? And who has the right to tell whose story? These questions lack easy answers, leading to a range of perspectives within the public and within the artistic community.

A Microcosm of Societal Tensions

The feud between Lee and Tarantino functions as a microcosm of the larger cultural tensions surrounding the portrayal of race and history in popular media. Their discord reveals the diverse ways audiences perceive and respond to social commentary or the absence of it. Some viewers appreciate Tarantino’s bold, unrestrained style, while others find it offensive and irresponsible. Similarly, some applaud Lee’s unwavering commitment to social justice, while others perceive his work as overly didactic.

Both Lee and Tarantino have made indelible marks on cinema, pushing boundaries and challenging conventions. They have sparked crucial conversations about race, representation, and the power of storytelling. Their feud, though contentious, underscores the potent ability of movies to provoke dialogue, challenge perspectives, and ignite passionate debate about the role of art in reflecting and shaping our world.

Also Read: The Tarantino Crossover That Never Happened – Django & Zorro

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The Plot

The plot follows a character known for most of the story as The Bride, her name withheld. The Bride was an expert international assassin who left her team when she found out she was pregnant and decided to get married. But her team, particularly her boss and lover, Bill, did not accept this. Their attack leaves The Bride in a coma she is never expected to wake up from…but she does. After nearly being killed, losing her child and many other loved ones The Bride seeks revenge on her old team and in particular – Bill

After 20 Years…

The story is very much broken into chapters as The Bride crosses people off her revenge hit-list, there are intense action scenes followed by quiet moments and sections of anime or odd almost comedic sketches of The Bride getting the things she needs. It jumps back and forth in time around each of these showdowns – giving the audience relevant information, showing backstory between characters etc. It crosses off many items on a Tarantino checklist: extreme violence, an interesting and unusual soundtrack, and homages to other films.

Every fight scene is amazing and distinctive and for a revenge film where everyone is an assassin that is important. There are unusual shifts in tone in these fights – for example when The Bride goes to face O-Ren Ishii she must first battle through her samurai gang, killing dozens of people and verges on cartoonish fighting and jarringly over-the-top amounts of blood with a loud pop music soundtrack. But then her encounter with O-Ren, moments later, is a one-on-one sword fight comprised of only a handful of strikes, fought in a peaceful snow-covered garden and sometimes all you can hear is the sound of water and wood of a fountain.

It is perhaps outside these fight scenes – which do contain emotion as well as action – that the film falls down. This is particularly true of Kill Bill Vol.1 where there are large sections of the film that feel like they serve no purpose. Tarantino’s inability to cut down his movies is legendary and perhaps it was better to have two films rather than one very long one, but there is certainly stuff that could be removed. Kill Bill Vol.1 also contains, in my opinion, the most shocking and gratuitous example of violence in the entirety of Tarantino’s work, and that is saying something. I don’t think an actual description of what happens is necessary but suffice to say there is a moment of horrific abuse perpetuated on The Bride (and suggestion that this has happened many times before) that has no reason to be included other than to cause The Bride more suffering.

The final confrontation with Bill is a little overblown, with long monologues and even bringing out the very convenient trope of a truth serum but it ultimately is a very good end to the movie. David Carradine plays Bill, an actor best known for the tv show Kung Fu and very much part of Tarantino’s idiosyncratic casting style and is very good as the older mentor figure, turned lover, turned nemesis.

Music

Like all Tarantino films the soundtrack is a very important part of the film and has been chosen with care and while there are great tracks from The 5,6,7,8s and some old classics that most people won’t know (including me) what is most striking and memorable is the use of Ennio Morricone. Morricone did not compose new work but Tarantino used songs from other films. The work of the genius composer best known for westerns like The Good, The Bad and The Ugly brings tension, pathos and dread to the film, and is used intentionally to evoke the themes of westerns, and one can see the Kill Bill story told through a western – a gang turning their back on a member who then tracks them through the Wild West taking revenge.

For me looking at both Kill Bill Vol. 1 and Kill Bill Vol.2 and assessing the whole work is difficult as I do not like the first film, but think Vol.2 is great, and it’s hard to reconcile those two ideas. Certainly, the film has a huge legacy with outfits, songs, quotes quickly settling into the cultural understanding of the 2000s but does not belong in Tarantino’s top tier.

Also Read: Quentin Tarantino Directing A Star Trek Film? Here’s What It Would’ve Been Like

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Django Unchained was a big success for Quentin Tarantino. The film won two Oscars, made hundreds of millions of dollars worldwide and brought Don Johnson back to the big screen. The film was a brutal tale of slavery and violence in America a few years before the Civil War, Jamie Foxx as Django, a freed slave turned bounty hunter whose ultimate goal is to rescue his wife from slavery, Christoph Waltz played Dr. King Schultz, a refined bounty hunter and hater of slavery (and who freed Django) and Leonardo DiCaprio was the despicable Calvin Candie, the owner of a huge slave plantation. We see torture, abuse, racism and more.

The Mask of Zorro and its sequel The Legend of Zorro were light-hearted action-adventure films of the late 90s and early 2000s, Antonio Banderas played Alejandro Murietta, a bandit who takes on the mantle of Zorro from the original hero (played by Anthony Hopkins), and takes on local villains in typical swashbuckling fashion.

The reason I’ve mentioned the Zorro films and Django Unchained in the same article is that there was a proposed crossover; which to my mind seems like one of the most bizarre crossover films ever made. Of course, both are set in 1800s North America but there are few other connections.

Tarantino’s Film

This crossover was being made under the auspices of Quentin Tarantino and one would assume this film would be in keeping with his oeuvre. So this would mean Zorro would probably move in the direction of Django Unchained. The plan seems to have kept both Antonio Banderas and Jamie Foxx in their titular roles and so this would perhaps be some odd buddy-vigilante film where the pair took on some new corrupt villain.

Whilst this idea is intriguing and Quentin Tarantino has pulled off some impressive feats of unlikely cinematic success it’s hard to imagine how this would actually work. It feels like a crossover between nihilistic, crude and dark Rick and Morty and 1980s cartoon classic of high adventure, whimsy and anthropomorphism Dogtanian and the Three Muskehounds. The tone of the two films is so drastically different. The individuality of the Zorro movies will be utterly overwhelmed by Django Unchained and Tarantino and surely the only way it could work would be to completely abandon the style of the Zorro movies and simply have a version of the Zorro character transplanted into Django Unchained. One of Zorro’s most famous actions is slicing the letter “Z” into various things. Typically, this would be done to a sign or the shirt of an enemy and more as a humiliation or calling card than to actually hurt someone. We don’t have to look too far back in Tarantino’s work to find an example of people leaving a calling card that was a lot more brutal than cutting someone’s clothes. I get the feeling Banderas’ Zorro would spend this proposed film fainting from the horror of Tarantino-verse.

The Movie

The last we saw of Django Freeman he was riding off from the destroyed Candyland with his wife Broomhilda. Potentially, Django is being chased by the authorities and so it would make sense for him and Hildi to get out of Mississippi and put some distance between them and what happened. Django Unchained is set in 1858 and California became an American state in 1850, and this could be one of the most interesting ideas – Zorro battled Spanish and Mexican authorities in California, but in a world where these two characters meet, California is in America. It raises a lot of questions – what did Zorro do in the Mexican-American War a few years earlier? What is Zorro’s place in the world now? How does Zorro fair in a far more democratic society but one which still brutalises minority populations? The most obvious storyline for a Django Unchained sequel would surely include the coming crisis in America- the Civil War. Not only causing upheaval throughout America given that one side in the Civil War was fighting to continue slavery it would be easy to imagine that Django, having once been a slave, would be eager to fight in it. Zorro has less obvious motivation but he is still a champion of justice and the oppressed. A movie of Django and Zorro cutting across the Confederacy, taking on owners of slave plantations and the Confederate army does sound interesting…but still hard to imagine it actually working. The rumoured plot of the actual film seems to centre around Django becoming bodyguard of Don Diego De La Vega (the alter-ego of Zorro) on a mission to free indigenous people from slavery.

It seems like the Django-Zorro crossover will be added to Casino Royale, a Westworld remake and Star Trek and others as films Tarantino was slated to make but never did.

Also Read: Quentin Tarantino Directing A Star Trek Film? Here’s What It Would’ve Been Like

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1. Star Wars: The Rise of Positivity

The only thing Star Wars fans agree on is that Star Wars (1977) and The Empire Strikes Back are great. However, from there opinions vary wildly. Some find Return of the Jedi either a fitting end to the original trilogy or a dumbed-down entry for kids. Most people initially didn’t like the Prequels and Disney’s handling of the property has produced mixed critical and fan reactions, to say the least. So perhaps the most controversial thing a Star Wars fan can do currently is resist the pull of the dark side and say, “there are zero bad Star Wars movies”. Well, MoviePreviewShow managed it.

2. My Not so Fair Lady

My Fair Lady was a real winner in its time. It won 8 Oscars including Best Director, Best Actor in a Leading Role, and Best Picture. Although, viewed all these years later people like Martin Something-or-other find that My Fair Lady leaves a lot to be desired.

3. Defending Daredevil (2003)

The exact opposite of our last entry. The Ben Affleck Daredevil movie was derided upon its release. However, since then it has gained a cult following. It was also given a director’s cut release which many say makes the film into something special. Because superhero movies are currently taking a break maybe it’s time to revisit Daredevil (2003)? You may find yourself like Retro Gamer.

4. Battle of the Directors

Martin Scorsese is considered one of the best directors of all time. Creating great films like Taxi Driver, Raging Bull, The King of Comedy, Goodfellas, and Wolf of Wall Street to name only a few. But can he compete with Brian De Palma the director of classics like Carrie (1976), Scarface (1983), The Untouchables, and underappreciated gems like Phantom of the Paradise and Dressed to Kill? Not according to RVD the Dudar.

5. Excellent Adventure Vs Bogus Journey

When most people speak about the Bill and Ted films, they talk about the first entry, Bill and Ted’s Excellent Adventure. Which is understandable, because it is the highest-rated and highest-grossing film in the franchise. But Direct Questions thinks the claim that it’s the series’ best film is bogus. He believes Bill and Ted’s Bogus Journey is the superior film.

6. Streaming Wars

With a lot of production companies moving into the streaming market, many are beginning to make their content exclusive to their own services. Which definitely doesn’t sit well with Jonathan Boyd.

7. The Horror of Children

The opinion that children in movies are more annoying than they are effective is nothing new. Though kids in horror films not being scary when movies like The Innocents (1961), The Exorcist, The Omen (1976), and The Shining (1980) exist? Eric S. Kim’s opinion is definitely controversial.

8. Trashing Tarantino

Quentin Tarantino is one of modern cinema’s most acclaimed filmmakers. With several of his films being considered among the best ever made. However, as with anyone who is well acclaimed there are always those who believe them to be overrated. But which camp do you fall into? Are you a true Tarantino aficionado or are you like Global Affairs?

9. Stay Mysterious

Many agree that trailers and reviews sometimes give too much away. But how much should you know about a movie to become interested? To Rigmarole Film a movie is improved vastly when you know as little as possible going in. And therefore, have more of an open mind.

10. Henry Cavill’s Superman

Henry Cavill’s Superman films generally divided opinion among both audiences and critics. However, some people, like (thereal)Chris Grant Jr., consider him to be their favourite Superman portrayal.

So ends our brief look at unpopular film opinions circulating social media. What do you think about some of these controversial opinions? What are some of your film hot takes? Please let us know.

Also Read: The Film Fan’s Guide To Time Travel

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Howdy Cowboy?!

Brad Pitt being Leonard DiCaprio’s stunt double? It seems that in the 60’s everything was possible. Meet Rick Dalton (DiCaprio), a once very well respected television cowboy, whose career is now spiralling downward at a rapid speed. After gaining worldwide fame with the Western television series ‘Bounty Law’, Dalton is now becoming one of the oldies on his way to his showbiz grave. Being there to help him out with his professional and personal life is his stunt double/close friend/personal driver Cliff Booth (Pitt). While Dalton is constantly being reminded of the glamourous life he once had, his new next-door neighbour Sharon Tate (Margot Robbie) is dreaming of her glorious upcoming acting career. In the city where it’s all about fame, status and being rich, both Dalton and Tate are doing everything they can to keep their fantasy alive. For Tate that means getting to know rich and famous, for Dalton it means going to Italy and making movies that are out of his comfort zone. Of course, as any good friend, Booth is joining Dalton during his Italian voyage.

Six months after they first set foot in Italy, Dalton and Booth return to Hollywood. Dalton got married to actress Francesca and his outstanding life is back on tracks. Booth starts again living his usual Hollywood life. Enjoying the city and its people, the time with his dog and naturally also his on-set work (although that seems to become less and less). When he one day decides to give the rather horny hippie Pussycat (Margaret Qualley) a lift to the Spahn Movie it seems that also his life will be influenced by a woman. Curious to find out what happened to their lovely neighbour Tate? Well, she got married to a rather famous Polish director. It seems that Hollywood is the only thing that connects the three of them. Well, a Tarantino movie wouldn’t be a real one if there wouldn’t be more than what meets the eye…

A brilliant tribute to Hollywood made by outstanding people

“Once Upon a Time … in Hollywood”. Well, the title says it all. Tarantino is honouring Hollywood most meticulously and nostalgically. TV and movie pastiches, numerous billboards, the typical 60’s cinema theatres, the incredibly recognizable pop tunes, and commercial advertisements are all passing by. However, it’s mostly the film crew that was able to get the right vibe flowing through the film. First of all, there’s the stunning production design from Barbara Ling. She thought of every single detail: whether it’s the interior of the saloons, the neat and clean design of Dalton’s mansion or colourful and dazzling parties, it’s all achieved beautifully.

We also have to applaud the flawless work of Arianne Phillips who was in charge of the massive variety of costumes. From rock ‘n roll cowboy to stylish actor and from just an everyday outfit to multi-coloured, elegant and chic dresses, it seems that no costume was too hard to find or to create for her. If you’re Quentin Tarantino then you know how to choose your cinematographer and with Robbie Richardson, he made a faultless choice. Richardson brings life and colour to this film like no one else can.

Pitt + DiCaprio + Robbie = the perfect trio

Pitt, DiCaprio, and Robbie all in the same film. Do we need to tell you how great that casting was? Probably not but we’re going to do it anyway. One thing is for sure: DiCaprio is not going to have to wait for another Oscar as he did for his first. He’s spot-on as Dalton. One moment he has to deliberately act like a beginning actors while a few seconds later, he has to perform like it’s his last scene ever. DiCaprio does it with an enormous amount of flair, emotions, and craftsmanship.

Having one great actor was not enough for Tarantino as he also added Brad Pitt to the cast. Pitt oozes tranquillity, charisma, and personality as the rough-though, straight-to-the-point but also loving stunt double Booth. It will be an extremely close call who will take home the awards for best leading actor. If you’re looking for a leading actress who performs impeccably a beautiful, full-of-life and determined upcoming actress, then you should go for Robbie. She gives this film the more elegant, colourful and joyful touch.

And the award goes to…

“Once Upon a Time … in Hollywood” may or may not be Tarantino’s penultimate film and if he decides to fold up his director chairs after his next film, then we hope that that movie will be from the same calibre as this one. “Once Upon a Time … in Hollywood” is a visually stunning, perfectly performed, while also being a craftily and passionately made homage to Hollywood in the ’60s. It would come as absolutely no surprise if “Once Upon a Time … in Hollywood”, its director and cast become the front-runner during the following award season.  

Verdict: (4 / 5)

Also Read: 5 Horror Films & The Real Events Behind Them

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Martin Scorsese / Leonardo DiCaprio

This duo first appeared in 2002 with “Gangs of New York” and have produced four feature films together since, with two more in development as well as a promotional short. While this partnership has not produced as many films as Scorsese’s other famous partnership with Robert DeNiro, it is arguably more varied, with their collaborations including genres like crime, comedy (“The Wolf of Wall Street”)and biopic (“The Aviator”), with Leo helping the director win his first Oscar with his role in “The Departed”

Interestingly it was actually DeNiro who introduced the pair, after having worked with DiCaprio previously, DeNiro sang the young actors praises and that Scorsese needed to work with him, with the director referred to as “extraordinary fortune” and that they wanted to make movies the same way

Christopher Nolan / Michael Caine

When Christopher Nolan turned up at Micheal Caine’s house, he was initially going to turn down the part of Alfred, Batman’s loyal butler, as serving dinner and coffee didn’t really appeal to the veteran actor. Then he read the script and quickly changed his mind, noting that he had “written great parts for real actors“.

Michael Caine is a prolific actor who has been in the business for over sixty years, so it’s fair to say he recognises talent when he sees it, and that’s exactly why he keeps partnering up with Nolan. Since “Batman Begins” in 2005, Nolan has included him in every one of his films, with a small voice cameo in “Dunkirk” being the only time he hasn’t appeared in person.

Sam Raimi / Bruce Campbell

Raimi and Campbell have been friends since high school, making short films in their spare time. They eventually convinced some dentists to invest in their first feature “Evil Dead” and both of them became cult horror icons.

Bruce Campbell has gone on to have roles in various fan favourite projects, but aside from his role as Ash Williams, he is also known for his memorable cameos in various Raimi movies, especially his Spider-Man trilogy, appearing in various roles through the series. If Spider-Man 4 had ever gone into production, Campbell would once again appear, this time as the villain Mysterio.

Guillermo Del Toro / Doug Jones

Possibly the least recognisable duo on this list, not due to the body of work, but because Doug Jones’ face is often hidden behind hours worth of prosthetics, with his first big break actually being a McDonald’s ad. He first met Del Toro on the director’s English language debut “Mimic“. Despite the films’ troubled production, the two became friends, bonding over their love of monsters and movies.

Jones has appeared in all of Del Toro’s films since the original “Hellboy”, except for “Pacific Rim”, with his biggest arguably being the creature in Del Toro’s “Shape of Water” which won an Oscar for Best Picture.

Matthew Vaughn / Mark Strong

Some partnerships happen because of a pre-existing friendship or a recommendation. Some just happen because the pair find each other easy to work with, as is the case with Director Matthew Vaughn and actor Mark Strong.

The pair have worked together four times since their first collaboration in 2007’s “Stardust” with Strong only being absent for X-Men First Class. Having previously played villainous characters in “Stardust” and “Kick-Ass” he plays Merlin in the “Kingsman” films, in which he is a member of the super-secret spy organisation.

Wes Anderson / Bill Murray

Murray has worked with Anderson since his second feature “Rushmore”. Anderson sent him the script with no expectations, then had an executive leave their own office while Murray talked to him about the role. His role in “The Royal Tenenbaums” happened simply because Murray lived close to the shoot, the two talked about “The Life Aquatic with Steve Zissou”.

Murray and Anderson have such a good rapport, that he instantly says yes when the director calls, no matter the project. He must get the call a lot as Murray has appeared in all of Anderson’s film since, totalling eight, with some being important parts, and others just wordless cameos.

Quentin Tarantino / Samuel L Jackson

Tarantino has several actors that he frequently collaborates with, which he refers to as his “Tarantino superstars“. However. he clearly has a favourite, Samuel L Jackson, whom he frequently writes roles in mind for. The admiration goes both ways, as Jackson cites some of his roles in Tarantino’s films as his favourites.

Jackson has appeared in 6 of Tarantino’s 9 films (Tarantino considers “Kill Bill” one film, and Jackson does not feature in “Once upon a time in Hollywood”). He actually auditioned for “Reservoir Dogs” but didn’t get the part, when he saw Tarantino again later at the premiere, the director told him he was writing something for him, which would turn out to be his Oscar-nominated role in “Pulp Fiction”.

Also Read: Video Nasties: The History of Censored Films in the UK

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Loose lips sink Starships

Anticipation for the next big franchise instalment can be a double edged sword, on one hand, there’s always lots of attention and excitement, but on the other, everyone wants to know what happens. Leaked footage and photos are constantly making their way onto the internet, sometimes even because of the stars of the films themselves. The Russo Brothers put out letters to the fans before the release of their “Avengers” films, warning fans that “Thanos demands your silence” and urging them “Don’t spoil the Endgame” after leaked footage was uploaded online. Creators obviously want moviegoers to enjoy their work on the big screen as intended, not recorded on a phone with people getting up for the toilet halfway through.

As such, they often go to some extreme lengths to prevent potential leaks. Even Quentin Tarantino asked for a spoiler ban when his latest film “Once upon a time in Hollywood” premiered at Cannes ahead of its official release. Avengers: Endgame crew gave cast incomplete scripts containing only their scenes and filmed against green screens, so the cast could not give anything away. The new series of Star Wars films even stage out toy and merchandise releases, so as not to reveal any surprises. Game of Thrones famously claimed to film multiple endings to throw people off, after previous episodes were leaked, including the final episode.

Cursed with Knowledge

Despite all these leaks, it is possible to go spoiler free, although the internet does make it more difficult. Muting keywords, and avoiding certain websites are key, but that won’t stop someone posting a spoiler on the comments of something entirely unrelated. Obviously, the longer you wait, the harder it will be to avoid spoilers (“Empire Strikes Back” came out in 1980, almost 40 years ago), seeing the film or episode as soon as possible is ideal. The Russo brothers’ ban on spoilers lasted two weeks, although they admitted they would have liked it be longer stating “we can’t control the internet”.

Staying off the internet is the most effective way of avoiding spoilers, but even then you might not be safe, some trailers can give away important story beats in an effort to get people excited. Even actors can give away important plot points in interviews, making many interviews potentially unsafe for spoiler-phobes. Many reviews and previews can detail particular scenes even if they are not major plot points, so avoid those too.

Great Power, Great Responsibility

With spoilers literally everywhere, and the extremes both creators and audiences go to avoid them, not to mention the consequences for those who do spoil things, some are beginning to wonder if it’s going too far. Even if isn’t going too far, who’s responsibility is it to keep audiences safe from spoilers? Filmmakers? The Audience? Critics? The trailers for “X-Men: Dark Phoenix” all but confirmed the death of a major character, but the director insisted it wasn’t a spoiler. Many people would likely argue that the death of a major character is indeed a spoiler, no matter where in the film it takes place. Fan theories can tread a fine line between outlandish and spoiler, with countless theories posted online, some closer than others.

Ultimately, unless one decides to live under a rock, it is almost impossible to go into something completely spoiler free. With behind the scenes information such as actors contracts regularly reported, and constant rumours and leaks, not to mention fan theories, audiences will never go in completely blind. How much this bothers someone is entirely up to them, after all, while knowing a twist might help the audience pick up on subtle clues and foreshadowing, you only get one chance to experience the twist the first time.

Also Read: American Psycho: 19 Years On

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My child’s reaction to her first viewing of Jurassic Park 2, when the T-Rex has a kennel hanging out of its mouth, and my first foray into dealing with violence in a film which I definitely should not have let my 3-year-old watch. That particular film was rated PG – parental guidance – but I was looking at it through the rose-tinted haze of nostalgia, not the more sensible reasoning that live-action, carnivorous dinosaurs might not be the best viewing for my pre-schooler.

This particular incident didn’t have any long-term damage, as far as I can tell, there were no nightmares and she still says her favourite dinosaur is a T-Rex. But what of the claims that violence in films and television is having a detrimental effect on young people who are ignoring the age rating and watching? Can on-screen violence lead to deviant behaviour in the real world?

In Britain, film classification is decided by the British Board of Film Classification (BBFC). During this process, several factors are taken into account such as discrimination, imitable behaviour, language, drugs, nudity, sex, sexual violence, theme and violence. However, public opinion is also taken into consideration and, as this changes, so does the classification of certain films. This means that as certain topics become less of a taboo, then they are less likely to shock audiences and so require a less severe age rating. However, the group is aware that younger audiences are more likely to watch age-inappropriate movies at home when they are released on DVD or streaming services. They provide descriptions of the issues found in films in a bid to educate people before watching.

So what is meant by “violent imagery”? When classifying a film, the BBFC lists the following as issues which will be put a production into a higher categorisation:

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Big Picture Film Club took a trip to one of the most talked about art exhibitions this summer: Daydreaming With Stanley Kubrick, held at London’s Somerset House. The exhibition featured a variety of paintings, installations, videos, and sculptures inspired by the late cinematic genius Stanley Kubrick. Much like Quentin Tarantino, George Lucas & Ridley Scott after him, Stanley Kubrick’s impressive body of work has given him a cult-like following, particularly after his death in 1999.

Curator, James Lavelle, has done an excellent job in putting together this mix-media exhibition. The 45 works on display flow effortlessly together and make for a seamless and captivating experience. While there were many great pieces of work on display, in no particular order here are some of our favourites from the exhibition:

1) Life, by Dexter Navy

This piece was distinct, in that it references current social commentary of civil unrest, as opposed to directly taking from Kubrick’s films. However, the intricate use of colour in this piece was inspired by the work of Kubrick.

2) Various Works, by Philip Castle

Airbrush artist, Castle, who designed the original poster’s for Kubrick’s A Clockwork Orange & Full Metal Jacket, gave the iconic posters a contemporary redesign, and showcasing a never used alternative design for Full Metal Jacket.

3) Camera A, Scene 136, Take 1, by Thomas Bangalter

Bangalter, one half of electronic duo Daft Punk, exemplifies what Kubric’s work is about with his simple, yet powerful video piece. The slow-mo clip features a person walking calmly through a pitch darkness engulfed in flames – the fire providing the only source of light, illuminating the ground below.

4) In Consolus – Full of Hope and Full of Fear, by James Lavelle & John Isaacs ft Azzi Glasser

Immediately the senses are treated to an overload of sight, sound and smell. The clearly recognisable, Lolita inspired giant teddy bears gives a sense of fun and playfulness whilst the darkness of the room and the juxtaposed neon love sign hints at sinister undertones. Empty pantry boxes reference The Shining, 2001: A Space Odyssey inspired scent from perfume designer Glasser fills the room, whilst the soundtrack comes courtesy of: Detroit techno pioneer Carl Craig, Italian dance ensemble Planet Funk – Domenico “GG” Canu and Marco Barani, spoken word artist and designer Michele Lamy, and UNKLE collaborator Elliott Power.

6) Das Problem der Befahrung des Weltraums, by Norbet Shoerner

Norbet created a 360° virtual reality recreation of the Discovery One space. Breath taking in its redesign, fans of 2001: A Space Odyssey will feel as if they have been dropped right into the movie. Definitely one of the key highlights of the exhibition!

7) History Painting, by Marc Quinn

Quinn draws from media reportage of social unrest, amplifying the sense of violence and unease with the contrasting use of colour.

8) The Shining Carpet, by Adam Broomberg and Oliver Chanarin

Immediately recognisable, no Kubrick exhibition would be complete without the iconic print carpet from the Overlook Hotel. The print continues to inspire artists of all mediums.

9) Clockwork Britain, by Paul Insect

Famous for his street art, Insect alludes to violence and the alienated youth in A Clockwork Orange by fusing 60s pop art and contemporary street art with the use of bold colours and the Union Jack motif.

10) Metanoia, by Polly Morgan

Morgan explicitly exhibits the implicit sexual imagery we see from Alex and his Droogs in A Clockwork Orange. The downward pointing triangle is traditionally referred to as the chalice, symbolising the flow of water, the grace of heaven, and the womb – an ancient symbol of female divinity. Seeing this stuffed uncomfortably with a serpent, provokes very real feelings of disturbance just as when we watched those awful scenes in the film itself.

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