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Kill Bill: The Whole Bloody Affair Review

Released in two parts, Kill Bill was originally envisioned as a single experience, which has been teased since at least 2008. Now, audiences can finally get a taste of The Whole Bloody Affair across a gargantuan 275-minute runtime (including an intermission), as the unified version of Quentin Tarantino’s sprawling revenge saga roars into theaters after having been screened only sporadically over the decades.

The film is as vicious, fun, and sentimental as it’s always been, and although you could technically rewatch Vol. 1 (2003) back-to-back with Vol. 2 (2004) for a similar experience, nothing rivals the delights of watching Tarantino’s cross-cultural mash-up the way it was meant to be seen. At a micro level, the changes between the duology and the complete epic vary from a few shots to an entire 2D animated sequence (as well as a Fortnite-centric “lost chapter” that plays after the credits). However, the story’s emotional rhythms are also cemented far more firmly this time around. Watching Uma Thurman’s “Bride” — a.k.a. Kiddo, Arlene, Black Mamba, or B-[REDACTED] — tear her way through masked henchmen with a katana in Vol. 1 always felt like a markedly different experience from the more introspective sequel, but the two halves echo each other in more meaningful ways when watched in the same sitting.

For the uninitiated, Kill Bill traces the Bride’s non-linear, globetrotting journey after she awakens from a four-year coma and begins exacting bloody vengeance on her former assassin squad who tried to kill her on her wedding day. Adding to the emotional stakes is the fact that she was pregnant at the time, and now believes her child to be dead – a flourish Tarantino added when Thurman, his Pulp Fiction star, became a mother herself. The result is a fiery lead performance that lives on the edge of melodrama but never tips over into irony. No matter the mayhem on screen, it always feels personal. Recurring images of the wedding chapel massacre add fuel to the fire, but the story remains just as much about a vengeful killing spree as it does about the nature of revenge itself, as well as the way violence curdles the soul.

Of course, Kill Bill is the kind of movie that tries to have its cake and eat it too when it comes to this central theme. It’s a film that revels in the cartoonish blood spatter of classic samurai fare while also featuring harsh close-ups of a bruised and battered bride, presenting two dueling forms of bloodshed. On the one hand, there’s the righteous and ludicrously enjoyable violence of hacked limbs and severed scalps; on the other, the wince-inducing, unapologetically evil violence that robs a woman of her autonomy. It’s a cognitive dissonance the movie never fully resolves, but by the end, neither does the Bride. In fact, she seems consumed by this contradiction, and watching all ten chapters laid out end-to-end practically justifies Tarantino’s refusal to untie these emotional knots. Each vignette works perfectly in and of itself, and if that makes the whole thing a thornier predicament, then so be it.

Two decades on, the story, designs, and characters are as vibrant as they’ve ever been, from the Bride clad in Bruce Lee yellow slicing her way through the House of Blue Leaves (a sequence now entirely in color, emphasizing Robert Richardon’s resplendent cinematography) to the slick charms of David Carradine’s titular villain, who warps the whiz-bang saga into something far more melancholy whenever he’s on screen. Lucy Liu’s icy yakuza boss O-Ren Ishii remains a particular highlight, especially now that she receives an expanded backstory courtesy of an additional anime sequence that adds to her ruthless drive. An additional shot of a sliced hand is really the only major visual update in live action, but the movie’s structure is also impacted by the placement of a key reveal. What was once a cliffhanger at the end of Vol. 1, meant to hook audiences for a sequel, is now a shocking plot twist near the end. This may not change things for long-time fans, but going forward, it ensures that new viewers will never have more information than the Bride, resulting in emotional beats that perfectly map onto her journey.

It’s perhaps the mash-up maverick’s most overt work of cultural bastardization-slash-homage.

A handful of theaters are showing the new release on pristine 70mm and 35mm film prints, which – if you’re lucky by way of geography – only adds to the splendor of Tarantino’s cinematic remix. It’s perhaps the mash-up maverick’s most overt work of cultural bastardization-slash-homage, a thin line he traipses with gusto by combining the sounds and styles of spaghetti Westerns, spy B movies, Japanese chanbara (or swordplay) and Chinese wuxia, all choreographed by Hong Kong stunt legend Yuen Woo-ping. However, the long-overdue release is also a more mournful tribute to bygone eras of cinema, simply by virtue of the passage of time: Many of its stars have since departed, including David Carradine, Sonny Chiba, Michael Madsen, and Michael Parks, as well as the film’s editor, Sally Menke. Kill Bill should have always been this way, but it’s better late than never.

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The Beatles Anthology 2025 Review

The Beatles Anthology 2025 is available on Disney+ now.

Fans of the Beatles have been well enabled by Disney+ since it launched in 2019 with a steady release of exclusive Fab Four documentaries, including Peter Jackson’s The Beatles: Get Back (2021), Let It Be - Restored (2024), Beatles ’64 (2025), and now the remastered The Beatles Anthology 2025.

It’s staggering to consider that it’s been 30 years since the ABC network first broadcast the original eight episodes of The Beatles Anthology in the US as a three-night event. Directed by Geoff Wonfor and Bob Smeaton, the series marked the first time that the surviving Beatles — Paul McCartney, George Harrison, and Ringo Starr — and Yoko Ono and Sean Lennon (representing the late John Lennon estate) worked together to tell their story in their own words. The docuseries also utilized the massive collection of unused Beatles footage curated and cataloged in 1971 by Neil Aspinall, their longtime friend and manager of Apple Corps, and their own individual personal archives. The result was an exhaustive, insightful, and very personal record of their shared history, starting from their childhoods in Liverpool through to the dissolution of the band in 1969.

While that iteration of The Beatles Anthology was accepted as the definitive source for the band’s history, it was limited by what could be accomplished with the video and audio mastering of the time, as well as broadcast standards in 1995 (HDTV wouldn’t be introduced until 1998). With this updated version, not only is a worthy ninth episode added to the whole, but the overall footage restoration and upscaling is pristinely done by Peter Jackson’s WingNut Films & Park Road Post, who were responsible for the Beatles: Get Back and Let It Be restorations. That’s matched by the stellar audio remastering and remixing by Giles Martin, son of legendary Beatles producer George Martin. He utilized ‘MAL’ AI de-mixing technology to do what good AI does, achieving digital separation of audio layers to get maximum clarity with voice, instruments, and background noise. That means crisp song fidelity throughout the new episode, as well as in Lennon’s voice in the “new” Beatles songs that came from this project.

Even if you aren’t a Beatles fan, the Anthology series stands apart from most band docs because of its contextual value as a historical time capsule of the post-war global music scene. Told primarily through interviews recorded from 1991-1994 with the surviving members, and using archival interviews of Lennon, the docuseries isn’t concerned with how the outside world perceived them. This was their opportunity to reflect on the magic of their intersected lives, how they applied their working class values of non-stop gigging to evolve into a cracking little band, and their remembrances of how they weathered the global obsession of them and their music that started with "Please Please Me" in 1963 and never really stopped.

There’s warmth, rapport, and truth that blooms before our eyes, and it’s emotional to watch. 

The only new material in The Beatles Anthology 2025 comes in episode nine, which is a more formal edit of the special features footage from the extras disc on the original Anthology’s DVD box set, and some unused material from the original edit. Director Oliver Murray (Now and Then - The Last Beatles Song) takes his storytelling cues from Peter Jackson and allows the band’s candid moments to speak volumes about band dynamics, from their waning days right up through the sessions for the doc in the early ’90s. Murray also constructs a timeline for the creation process behind the Lennon demos that inspired their creation of "Free as a Bird," "Real Love," and what eventually would become 2023’s "Now and Then.” As they relearn to create in a space together, there’s a lot of joy in just witnessing them collaborating and writing as a unit again. There’s warmth, rapport, and truth that blooms before our eyes, and it’s emotional to watch.

In keeping with that, episodes one through eight remain a fascinating watch, not only because of the documentation of their meteoric rise, but because of how distance from “The Beatles” informs the unique mood each brings to the interviews that assess their memories of that crazy decade of their lives. While the great Beatles experiment only lasted a decade, the music they made and the accelerated rate in which they matured musically remains singular to modern pop music. In turn, they inspired countless musicians that came after, while continuing their own musical journeys. Not many bands hit a pinnacle of success like the Beatles did, then get to reunite to set the record straight while still wrestling with their legacy in real time on camera. The Anthology remains infinitely watchable because it’s not just documenting a timeline; it captures the evolving, complicated relationships of its existing members, who on one hand can be united in mourning the loss of Lennon, yet still bristle with their memories of one another.

There’s also the journey of the viewer. If you’ve watched Jackson’s The Beatles: Get Back and Let It Be - Restored, and then rewatch The Beatles Anthology 2025 or watch it for the first time, together they present the clearest picture of each man’s patience and enthusiasm for the Beatles over time. McCartney and Starr have obviously had the benefit of more years on the planet than Lennon or Harrison were afforded and there is the mellowing that inherently comes with time. But those three projects, when watched together, do an extraordinary job of capturing the journey of what they all weathered personally and professionally, good and bad, and the choices they made to make peace with their Beatles legacy. As George Harrison says so sagely in closing, "The Beatles live in a different universe, regardless whether we're around or not. It's no longer us, it's whatever anyone takes from it." It’s especially bittersweet to have him acknowledge that truth when only six years later, he too would be gone… but that just reinforces what an incredible project this remains.

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Knives Out: Ranking the Best (and Worst) Characters of the Series

With Rian Johnson’s killer murder mystery Wake Up Dead Man coming this holiday season, there’s no better time than now to take stock of the characters we’ve met over the last couple outings.

From the cruel to the charming, here’s our ranking! And be sure to check out our Wake Up Dead Man review when you're done here...

20. Jacob Thrombey

Kicking things off is the “alt-right troll dipshit” that is the youngest of the Thrombey clan in the original Knives Out film. I have to give credit to actor Jaeden Martell; I hate this smarmy little punk. He mostly spends the film spewing hate on the Internet with his face buried in his phone and offering the occasional snide comment as he lurks in the background. While he doesn’t get a whole lot else to do beyond that, he really does make your skin crawl whenever he comes into frame.

19. Donna Thrombey

Initially seeming like she might be a nice person in the grand Thrombey scheme, Donna (Riki Lindhome in Knives Out) is actually the one that’s the most hateful of the bunch. Rather than being unaware about her son's awful online activities, she holds the same beliefs that may have even pushed him into that world in the first place; the apple clearly doesn’t fall far from the rotten family tree.

18. Duke Cody

Dave Bautista’s ridiculous character in Glass Onion – the cartoonishly-named Duke Cody – is like the dumbest men’s rights podcaster ever to cast pod, but also actually shredded? Yes, this Twitch streamer is a meathead in the truest sense of the word. Always strapped with a pistol (which is totally not compensating for anything), he's a manbaby casually bringing about the downfall of the world as he postures about being a tough guy while living with his mother. Don’t leave your drink alone with him.

17. Miles Bron

Played by Edward Norton in Glass Onion, this wealthy techbro megalomaniac effectively throws a party for himself just so he can invite the closest people he has to friends and make them worship at his feet. That the gathering is a murder mystery party where he gets ‘fake killed’ offers up a fantasy that, alas, the film never delivers on even as he does get his just deserts by the end. This is another character who wields immense power over the world and yet could not be more insufferable; that Norton instills him with something approaching comedic charm is more than he deserves. He wins for the most punchable face.

16. Linda Drysdale

The eldest child and only daughter of Harlan Thrombey, Jamie Lee Curtis’ Knives Out character is the worst when it comes to the self-centered adults of the family. She’s smarter than the rest of her siblings and all the more terrible because of it; the less the main characters have to deal with her, the better. She's got a fair amount of withering quips here and there that are fun, though it's all a front for her ugly soul. When she begins screaming as everything descends into chaos, it's like nails on a chalkboard. Though her name is Linda, she could just as easily be named Karen. That she uses the word "boinking" seriously is another irredeemable sin.

15. Meg Thrombey

The most human of the Thrombeys, played by Katherine Langford in Knives Out (pictured below on the right with Ana de Armas as Marta, left), soon reveals herself to be the most cruel when she abandons her supposed principles as soon as she is at risk of losing out on the wealth that her family is attempting to cling to. Though she thinks herself better than the rest of her family and postures about how she’s not really as selfish as they are, when push comes to shove, she’s the one that would not just stab you in the back but twist the knife. She makes all the right posts when it comes to social justice, but she’s not-so-secretly a NIMBY who votes against increased access to housing so she doesn’t have to look at the dirty poors.

14. Richard Drysdale

A character that would likely get drunk and proceed to corner you at a party to tell you about how immigrants are ruining the country just before he then tried to steal your wallet, Richard (played by Don Johnson in Knives Out, pictured below on the left with Jamie Lee Curtis as Linda, right) is the worst when it comes to the adult men in the Thrombey family. He’s the type of guy that thinks himself an intellectual as he blabs on and on about his hateful prejudices while expecting everyone to wait on him without talking back. He’s a dangerous combination of arrogant and stupid, continually bumbling his way through situations that he doesn’t understand, yet always messing them up anyway. He’ll quote Hamilton to you with a straight face when he’d be the slave owner in the production. Though he calls his son Ransom a “little shit,” he really ought to look in the mirror. He and his wife Linda truly deserve each other.

13. Birdie Jay

A former model turned self-centered fashion influencer, Birdie (Kate Hudson in Glass Onion) flaunts health regulations during a catastrophic global pandemic and puts everyone around her at risk just so she can throw a party to hide from her own loneliness. Incapable of not posting something hateful online while dubiously claiming she didn’t know what she was saying, she also runs her fashion empire on sweatshop labor and uses her billionaire friend, the aforementioned Miles, to help cover it all up. On top of all that, she makes her hardworking assistant Peg do all the work of ensuring she doesn’t make another mess for herself; Birdie doesn’t deserve Peg or her work.

12. Ransom Drysdale

Though initially absent for most of Knives Out before he makes his grand entrance and turns everything on its head, Ransom (Chris Evans) is one of the most consistently conniving characters in the movie as he tries to enrich himself. He’s as egotistical as he is abrasive, initially winning you over as he has a go at all the family members that have been grating on your nerves up until that point. Still, looks can be deceiving; he may be the greatest threat of them all. He’s a nightmare in so many ways, but a great character you love to hate. And he wears the nicest sweaters of the series, so he’s got that going for him.

11. Claire Debella

A self-serving politician (Glass Onion’s Kathryn Hahn) that’s mostly concerned with her own career rather than actually serving the people, she’s in it for the power and couldn’t care less about anything else. She’s always lashing out at the people around her and is smarter than those like Birdie, but is most concerned about the next time she can be on CNN. The only reason she isn’t higher up on this list is because she’s played by Hahn, who – in addition to being just great fun in everything – plays the drunk version of the character perfectly. It almost makes you think she’d be a great hang that you could get a drink with; almost, but not quite.

10. Walt Thrombey

Michael Shannon is a national treasure, though the character he plays in Knives Out is far from it. At every turn, he’s constantly trying to throw other people under the bus so he never has to earn anything for himself. However, like others in his family, he thinks himself superior and not cruel. Of course, when he goes full mask off about midway through and threatens those who he sees as standing in his way, we find out just how awful he is. Still, he also wears some nice sweaters.

9. Joni Thrombey

A supposedly successful businesswoman who actually runs a sketchy wellness brand known as Goo….I mean Flan, this next member of the Trombeys from Knives Out is more clever in how she positions herself in the family, but she’s just as awful as the rest of the bunch. She’s got more working in her favor in that she’s played by a great Toni Collette, though she’s also not above a little bit of embezzlement as a treat. I wouldn’t recommend investing in her company or buying her products, as you’ll find yourself out of money with a rash that won’t go away before you can even blink.

8. Lionel Toussaint

Oh, how his scientific mind is wasted. This is the Oppenheimer of the Knives Out series (as played by Leslie Odom Jr. in Glass Onion), or at least as close as a character could be to him; one can only wish he used his intelligence for good more consistently than he does. A brilliant fellow who gets taken advantage of and also benefits from working for Miles, he does show some integrity once he understands just how terrible his boss really is, although that realization comes a bit late. With this in mind, he does wear his swanky suits quite well, so he can’t be all bad.

7. Peg

Peg (Jessica Henwick in Glass Onion), I love you and wish you the best once you get away from these nightmarish people, but you also enable Birdie. You may think you’re just doing your job, but you need to go find another one doing work as an assistant for someone – literally anyone – else.

6. Stephen Sondheim

The late American composer behind some of the most wonderful works of music in modern memory, Sondheim is one of the greatest and most brilliant people to have ever lived. What's that you say? He only appears very briefly as himself in a quick scene in Glass Onion and really isn't a major character? Fair enough, but he's such a legend that any list not including him would be one that was incomplete. We all wish we could only leave such a mark as he did in his life.

5. Harlan Thrombey

Perhaps the only person in the Thrombey family from Knives Out who wasn’t totally irredeemable, Harlan is not entirely without flaws, though he does sacrifice for others rather than just take when it counts. He’s funny and self-deprecating just as he is charming and compassionate, with late actor Christopher Plummer giving him some earned grace notes even when he is facing down the end. His final scene, and the way he plays it, is just so perfect that it only becomes more tragic in retrospect. It’s a shame that the rest of his character’s family are so thoroughly awful, but such is life.

4. Lieutenant Elliott

An underrated part of the original Knives Out, LaKeith Stanfield’s investigator gets some of the funniest moments that cut through all the ridiculousness around him. He’s a grounding force in the film that could easily be forgotten if he were not so sharply written and well-performed. When we get to the end, he has some lines that are just so playful, you wish there was more of him. He isn’t the best investigator, but he is a damn great character to have in your film.

3. Helen Brand

The protagonist of Glass Onion, Janelle Monáe’s troubled twin with a heart of gold is what gives the sequel its beating heart. As we come to see in her performance, she is a compassionate sister dealing with loss just as she is desperately trying to get answers that are not so easy to uncover. Even as she is surrounded by a cast of eccentric characters, she never feels secondary to them, with Monáe more than holding her own and providing the emotional core for the madcap mystery she’s thrust into.

2. Marta Cabrera

When she isn’t holding back vomit stemming from her inability to lie, Marta (Knives Out’s Ana de Armas) is the character in this series with some of the most impactful lines and fun bits. She’s both the one person in the Thrombeys’ orbit who isn’t horrible, and the one who sees them more clearly than anyone else. As a more grounded character who must stand tall alongside a rogues’ gallery of repulsive maniacs, Armas’ great performance highlights the critical contrast.

1. Benoit Blanc

The man with a “Kentucky Fried Foghorn Leghorn Drawl” who always gets to the answers that nobody else can quite seem to discover, Daniel Craig’s private investigator – the star of the film series – is an instantly iconic character that we could watch for a dozen movies or more. Though his many quirks may not be everyone’s cup of tea, both Craig and Johnson have shaped them into a character that’s both playfully silly and deceptively emotional. In particular, the third film holds his methods up to the light and reveals a man still finding his place in the world. Though he’s always having a mirthful time despite being surrounded by mayhem and murder, both he and the movies he leads always have much more on their mind.

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