After getting interested in murder as a kid in Colombia, Gabriela now has a scrapbook on murders including clippings on "The Blue Blood Killer". While cleaning his latest murder scene in Miami, she comes across a clue missed by the cops.
The Bride must kill her ex-boss and lover Bill who betrayed her at her wedding ceremony, shot her in the head and took away her unborn daughter. But first, she must make the other four members of the Deadly Viper Assassination Squad suffer.
In Detroit, a lonely pop culture geek marries a call girl, steals cocaine from her pimp, and tries to sell it in Hollywood. Meanwhile, the owners of the cocaine, the Mob, track them down in an attempt to reclaim it.
Medellin, 1973: a young girl, chewing bubble gum and playing with a top comes upon the body of a murdered man. She's intrigued, even cheered by the sight. Jump ahead 18 years: Gabriela is ... See full summary »
Gabriella, 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.Written by
Amy Searls <email@example.com>
SPOILER At the very end of the credits, after the copyright notice, there is a scene showing Gabriela driving a car, with Eduardo, playing the tape she recorded with Paul's voice saying her name after his death. See more »
Originally, the film ended with a slow motion shot of geese flying south as the main character did a voice over but director Reb Braddock decided to save that for his next film, "When fun goes south with the geese." See more »
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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