Curdled
Curdled
R | 27 September 1996 (USA)
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Gabriela, a Colombian immigrant, is obsessed with understanding violent crime. The current string of murders by "The Blue Blood Killer" of affluent Miami socialites provides her with fodder for her scrapbook of death. She lands a job with a post-murder cleaning service and during a Blue-Blood clean-up job, discovers evidence that police have overlooked.

Reviews
Scanialara

You won't be disappointed!

Ploydsge

just watch it!

Comwayon

A Disappointing Continuation

Bob

This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

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ReasonlsOutToLunch

This always quirky, sometimes funny, sometimes dark, and sometimes misses film isn't a masterpiece. But, certain scenes make it worth watching. The exchange between Baldwin and Jones is one of those scenes. Gabriela is obsessed with violent crime. When she sees an ad on TV from a crime scene cleaning company she quickly contacts them to get a job with them. She is reluctantly hired and quits her other job. It gets somewhat slow at this point, but a key scene is when her partner complains about Gabriela's childlike behavior. The juxtaposition of Gabriela's demeanor, the crime scene, and her happy salsa music is a strange combination indeed. It sometimes works and it is sometimes grating. William Baldwin as Paul Guell is actually quite brilliant and doesn't get enough credit. You have no idea how much it pains me to write that. But, anyway here it is. He has a very difficult job to do here and he pulls it off and makes it look easy. He has to be a menacing serial killer, check he is very creepy. He has to manage to make it funny somehow as well, check. As mentioned before his exchange with Jones, was well worth watching the movie. He also manages to show some sensitivity, we can almost see into the pit of his dark soul, what motivates him to kill. It does't all work however, there are parts that are so illogical. Aside from the fact that the childlike main character is obsessed with violent crime. Things that would never ever happen in real life. I will have to leave it at that, if you watch the film you will spot at least one glaring example at near the end of the film. The ending will leave you with more questions than this film can answer.

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Bolesroor

Quentin Tarantino, aglow with the buzz-borne light from the soon-to-be-released "Pulp Fiction," was sitting in a darkened theater with his producer/pal Lawrence Bender, enjoying a short-film festival. The short being screened was called "Curdled," and it was about a Latin woman working for a housekeeping service that specialized in cleaning up crime scenes for murderers and killers. I picture our hydro-cephalic hero QT laughing so loud he annoyed everyone in the theater, including the film's writer/director Reb Braddock.But Braddock needn't have worried. Our fat-headed pop-culture savant got up from his seat when the short was over, sought out Reb and declared, full of his own ego and I can only guess Goobers, "Listen to me, Mr. Braddock, alriiiiiiiight? We're gonna take your short film and make it into a feature, okaaaaaaaaay? You'll write/direct and I'll produce, alriiiiiiiiiiight?"And so the feature-length version of "Curdled" was born. I'm scarcely exaggerating this story because it is the version told by Quentin himself in the film's bonus material. Could any aspiring director refuse the offer of a then white-hot Tarantino? Could you? Unfortunately for us the feature is nothing more than the 10 min. short stretched out over an hour and a half. Which strangely feels like three hours.Thrill as Nothing happens in slow motion. Watch the immediately-attractive Angela Jones (Butch's cabbie in Pulp Fiction) become less and less adorable as sheer boredom numbs your senses. Laugh at a one-joke black comedy that manages to kill the joke after twenty minutes. Rock to a movie so bad its writer/director Reb Braddock never wrote/directed anything ever again. At all.What did we learn today? We learned that short films don't necessarily translate into feature-length. We learned that even Latin women need good story lines to hold onto our attention. And most importantly: If Quentin Tarantino ever approaches you in a theater with greazy fingers and a shlt-eating grin you need to evacuate the premises as soon as possible.That's what Fire Exits are for.GRADE: D-

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gridoon

Thoughtless, ignorant, ill-conceived, career-killing (where is the talented Angela Jones now?), deeply unfunny garbage. It's no wonder Reb Braddock hasn't directed anything else since - anyone who has a chance to make his first film on his own rules, based on his own script, with the help of Quentin Tarantino himself, and creates something like THIS, anyone who feels that THIS was a story worth telling to the world, doesn't deserve a second break. Under the circumstances, the performances are good - the actors do what they're told to do, and they do it well. It's just that they shouldn't have done it in the first place. 0 out of 4.

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goblinhairedguy

Tarantino presents this little gem, which he caught at an Italian genre festival while promoting Reservoir Dogs (he relates the fateful anecdote in an epilogue after the movie on video.) It shares with that director the nervy, hip black-comedy attitude, an absolute command of cinematic techniques, and a post-modern approach steeped in b-movie history. However, where QT's films (and similar triumphs like Go) are explosive, this one is insidiously subtle and dead-pan; so much so that the gradual recognition of the filmmakers' intentions will give you the shivers. The creeping revelations of the themes, the dark pastels, self-referential script and straight-faced performances are reminiscent of earlier successful dark comedies, like Parents and I, Madman. Jones (her solo dance is a knockout) and Baldwin are both dead-on, and the director and editor never miss a beat. This is one of the best films of the 90s. (by the way, did anyone notice that this film opened about the same time as Headless Body in Topless Bar? quite a coincidence.)

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