Sexyloutak Absolutely the worst movie.

Tymon Sutton The acting is good, and the firecracker script has some excellent ideas.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Vonia Four Rooms (1995) Directors: Allison Anders, Alexandre Rockwell, Robert Rodriguez, Quentin Tarantino 4/10 An anthology film. 4 segments, 4 directors. A panoply of star cameos, some with many lines, some with a mere appearance. 1 Tim Roth. 1 topsy-turvy shambolic film. Frame Story (including two intervening shorts after the first and third segments, his calls with the party guests in Room 404 and his manager, Betty) could have been best story, but inconsistent; Tim Roth is hilarious at his best, a poor charade at worst. What is with his drunken bowlegs? Nevertheless, credit is due for his character and funny moments if you ignore the walk and over the top parts. Adored the subtle connections between the segments, a little little Easter eggs. (4/10) Honeymoon Suite, "The Missing Ingredient" felt like a burlesque comedy short. Roth's aforentioned foolish walk, the music and dancing for the coven's spell, all of it. Funny, but forgettable. Chaotic and ridiculous. Easy fun but little quality. (4/10) Room 409, "The Wrong Man" was similarly funny with little quality. This had less funny and more awkward laughs, though. Nonsensical plot idea that had the potential to become something enthralling, but was instead made into a farce. (3/10) Room 309, "The Misbehavers" was the best one, although definitely more over the top than necessary. In fact, probably the most ridiculous with the most elements of surprise including a fire, a huge syringe, said syringe used in darts, a dead whore. Unfortunately, Roth reaches his limit here and his already hyperbolic character gets even worse as he yells at these children, practically hyperventilating. Admittedly, these children might deserve some of it being nuisances that are endearingly intelligent about it. Everything that can go wrong, does. Mostly on a good way. Banderas saves the day, especially with his perfect last line: "Did they misbehave?" (5/10) Penthouse, "The Man From Hollywood" was quite the disappointment, coming from the biggest name in the film, Quentin Tarantino. Most of it is a complete waste of time, as mentioned by one of the characters. The reader is a thoroughly subpar, utterly non-Hitchcockian retelling of what the characters erroneously reference as "The Man from Rio", but is really "The Man from the South". An alcohol induced bet for a nice car. As long as he can light a Zippo ten times in a row. Otherwise, it will cost a finger. Literally. Roth is hired as the trigger man for $1,000. I will say that this segment is cleverly placed at the end, for the only redeeming detail is Roth's walk off ending, which could only be so simple yet so flawless now that his character, beyond done with his unexpectedly absurd night, has lost all fear and pretense. In this one scene, his nonsensical walk fits right in. (4/10) I have a soft spot for Anthology films. Apparently, only when done right. Four Rooms had all the elements. Sadly, with such shameful execution, the result leaves much to be desired. #FilmReview

zaremskya-23761 This film has an interesting premise - four separate rooms with four unique stories told by four different directors. The setup, however, collapses under its own weight, as the differing viewpoints and various styles just confuse each other, leading to an unsatisfying payoff.The directors are talented, the actors do their jobs just fine, but the gimmicky nature of the film makes it difficult to fully enjoy. It becomes kind of a circus. I'd say the best part is the finger scene at the end, but you have to get through the whole movie just for that.I would recommend viewing each directors' work separately, instead of this failed attempt to weave their styles together in a hotel setting.

videorama-759-859391 Even from the start, we have the Tarantino vibe here, although he's only partly responsible for the film. Different room, different writer/director. Tim Roth is to carry this film, and he really does get on your nerves, and even though he acts absurdly, over the top, off the wall, in a totally unrealistic (well, he's not the only one) character, it's what the role calls for, and in that context, he succeeds brilliantly. Watching him lose it, was the strongest moments. It's New Years Eve, and being the new bell boy, like the Gekko Brothers at The Titty Twister, Ted (don't call him Theodore) (Roth) he's got one hell of a night ahead of him. Lets start with the covern (not oven) of witches, where we get to see Ione's Skye's slightly pathetic boobs. A ceremony of bologne is in in the waiting. This is the weakest one of the four stories. Things get weirder and much more intense, as we move onto the lover's quarrel, where poor Ted as just having pashed Ione Skye, hits more serious waters, unwittingly getting in the middle, of this mad couple problems of infidelity, where the husband holds Teddy at gunpoint. Finally surviving these two nutjobs, where we do have a second serve from one of them (the less threatening) later on, we move onto The Misbehavers which provide a bizarre and stylishly different scenario, I liked, where finally we come to the main story we've all been waiting for, about a director, played by.... have a guess? and his entourage, who really set a good example of what stupid things people do, when they're drunk, minus a pinkie. Tarantino really steals the moments here, acting not like an actor, but a director acting like a director with a lot of CU shots, where his presence holds are complete attention. He's eloquent and his body language is fantastic. I just love watching him trying to act, but he's just being him, comparing movie's what not. He shows up the other writers with his input of dialogue, though of course, more suited behind a camera, despite his awesome confidence in front of it. Yes, that was the worst club sandwich I've ever seen too. Four Rooms is certainly different with same truly impressive performances, which I will note because they deserve credit, beside Roth who's wonderful of course. Refer by Surname: Skye, Proval, Beals especially, Wills especially, Banderas, Tomei. If a QT fan, don't pass it off. It's animation in the opening credits is a killer.

zetes When I was in high school, anything Tarantino-related was required to be memorized. Yes, even this one was insisted upon in high school, though perhaps not as strongly as QT's first two. This portmanteau follows bellhop Tim Roth as he gets into several adventures over New Year's Eve. I remember liking this one quite a bit, but, viewing it now, it's just too uneven to be worthwhile. Anders' first segment is easily the low point, thankfully. Any film starring Madonna should be immediately suspect, and everything about this tale of witches is awful. Rockwell's segment is a bit of an improvement, but too forgettable. Rodriguez's segment is the one I remember being the best, and it thankfully does hold up okay. Antonio Banderas is hilarious in it, and most of the jokes hit. I remember QT's segment being the worst originally, but I actually thought it was by far the best this time around. It usually gets flack, I think, because it stars Tarantino, but he's comfortable here playing a pompous movie director. It's honestly his best performance (if it had been readily available, I might have suffered through Destiny Turns on the Radio again) and his direction is pretty brilliant. The one thing that really drags this whole movie down is Tim Roth. Man, I remember loving him when I was a teenager, and, though I criticized his performance in Reservoir Dogs above, he's on Olivier's level there compared to his awful mugging here. Even if QT's segment were the weakest, it would automatically be upgraded to the strongest just because he's the only one who settles Roth the crap down, a bit at least.