All romance and very little truth, Slater and Arquette sparks up the dim fire every time.
Scott’s love track is a big sloppy kiss from 70s music video. The director Tony Scott fails to comprehend Tarantino’s script and as a result this love bash feels effortful and messy. But I wouldn’t just blame Scott to make sense in a film so teenage-ish as such. Not that we haven’t had good films in such genre, it’s just that the goofiness isn’t motivated as those films do and are. And Tarantino is to be put on trial too. Maybe, if he was there, in the director’s seat, he might have carved it out in one rhythmic beat. Even though the script and the characters journey might constraint it. The best thing film does is not feeling obligated to explain the falling in love aspect of these characters.
It is instant. Either it happens or not and when it does, that is it. There’s no clause, no explanation and no boundary. Now, in a film that is basically a chase scene, it is extremely bold and outrageous for Scott to expect us to have a conversation. That liberty comes only when the rush is dragged and not pushed by the film. To a script that zooms its way out, Scott had to focus not only on the stops, the stillness of the storyline but also on the emergencies.
On performance objective, the cast is a topsy-turvy dream. Samuel L. Jackson, Gary Oldman, James Gandolfini, Brad Pitt and Christopher Walken are supporting the lead in the form of guest appearances. But what still works, is those same little delights of chocolates that we receive periodically in the film fooling us in believing that it is in safe hands. True Romance is another product that came out from Tarantino’s press that communicates with young couple with a robust argument and his signature ruffian violence.