Why slow-mo? Because it looks super cool, especially when scored to The Kinks. The Whitman brothers (Adrien Brody, Owen Wilson, and Jason Schwartzman) walk out of a hut, run for a train, and generally look cool in gorgeous golden sunlight. With Harvey Keitel, Steve Buscemi, Tim Roth and Michael Madsen in tight-fitting suits and black ties, why wouldn’t you put them in slow motion? However, with the music edging into corny and the less than impressive setting of a diner car park (not forgetting Chris Penn's shell suit), there’s a cunning undercurrent of irony to the whole thing. Why slow-mo? Because it’s really, really cool. What’s happening? Having disputed the ethics of tipping and whether Madonna really is singing about a big dick, the rainbow-monikered gang leave a restaurant very slowly, to the strains of George Baker’s Little Green Bag.
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Plus the cloud of blood from the Agent’s head looks all pretty. With the use of multiple cameras, wire work and green screen, slow motion is not only justified but taken to a whole new level. Why slow-mo? Because Neo’s dodging bullets and the audience needs to see it happen: when everything slows down, we’re seeing events as he perceives them. He soon gets hit anyway, but Trinity (Carrie-Anne Moss) saves the day with a bullet to the Agent’s temple, who falls in – what else? – slow motion. Cue some revolutionary bullet time, where we actually see bullets moving in the air while the camera swoops around our hero. * What’s happening? *Neo (Keanu Reeves) is cornered by a dreaded Agent and is forced to dodge the bullets. And have you ever hurled a pram down a staircase? Those things go quicker than you’d think. It also serves to ratchet up the tension, alongside Ennio Morricone’s quavering strings and the mother screaming, “My baby!”. Why slow-mo? Because the 80s, and because De Palma could. Like a post-natal Neo, the baby dodges every stray bullet, and is caught by Ness and Stone at the last second. It’s all in tribute to the Odessa Steps sequence in Eisenstein’s Battleship Potemkin (hence the jaunty sailor who gets shot), although De Palma shies away from killing both mother and child, as Eisenstein did. What’s happening? Eliot Ness (Kevin Costner) and George Stone (Andy Garcia) have a shoot-out with some of Capone’s goons in a Chicago train station, while a baby falls down the stairs in a pram. Next Page: The Untouchables, The Matrix, Reservoir Dogs, The Darjeeling Limited It means that the violence is shown in much greater detail – particularly that gruesome cheek shot. The stunt work is also pretty extraordinary, with people falling from roofs and horses jumping through plate glass windows, and the slow-motion means more time to appreciate the danger to life and limb. Why slow-mo? Again, this being a western, there's the Peckinpah shadow. But not before some of them are shot off horses in super-slow-motion, with coats flapping around dramatically. What's happening? The outlaw gang are ambushed in Northfield and are forced to ride out of town pronto. And this being a western, the technique is something of an homage to Peckinpah. Why slow-mo?** **When people are doing such impressive backwards somersaults after being shot, you might as well milk it with slow motion.
What's happening?** **Bruce Willis shoots his enemies with two-handed guns, causing one to fly back in a somewhat absurd fashion, and another to fall through a glass ceiling with gusto. Finally, if you have such impressive squib work, why not show it off?
It also emphasises the sheer brutality of their deaths, particularly given the lack of music and the way their bullet-riddled corpses flop around like rag dolls. Why slow-mo?** **The two characters are *fairly *central to the film – look at the title, for goodness' sake – and so their deaths are more than a little momentous. Cue plenty of writhing and dramatic falling. **What's happening? **The two young outlaws/lovers are riddled with a frankly excessive number of bullets after their car is flagged down by a duplicitous old man. Even more impressive, it was Lombardo's first feature film as an editor.
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In those pre-Final Cut Pro days, the technique was pretty revolutionary at the time, with editor Lou Lombardo rightly praised alongside Peckinpah for the final result. **Why slow-mo? **Because it's the film's dramatic and emotional climax, with the slow motion also serving to transform the violence into something almost balletic and beautiful. What's happening?** **The eponymous bunch, led by Pike Bishop (William Holden), have a final, bloody showdown involving lots of old timey machine guns. If you have a dramatic death, noopener noreferrer} down a corridor, or if your film’s just running a bit short, noopener noreferrer} when you hold the camera speed down.
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