Maybe I'm the wrong audience for it, though- the women in the audience may appreciate it, or rather amused by it, more than I.

Some of the laughs are surrounded by a kind of attitude put forth by the director that seems a little off. It's also interesting to see how his character goes through different motions when under each director (for example, in Rodriguez's film he's more of a cartoon-type of character, and in Tarantino's film he hearkens slightly to his previous collaborations with the director, quieter, on edge in a particular way). Ted, by the way, is played with a continuous, nervous-type of fervor that goes from being innocuous, to annoying, and then acceptable again. So, let's break each one down: Allison Anders' film is a quirky, quasi-lesbian take on a coven of witches, featuring the likes of Madonna and Lily Taylor, are the first to shake up (perhaps for the better in this one) Ted the bell-hop. It all comes down, in this case, to which two were funnier. As was with many others who viewed the film, I found that the first two segments were the lesser ones, and the last two were the best ones.

It disqualifies itself as being any kind of masterpiece or classic in independent film-making, and sometimes the filmmakers (Alison Anders, Robert Rodriguez, and Alexandre Rockwell, and Quentin Tarantino, the last two also serving as executive producer) look like they're relishing too much in their (limited) clout and exuberance to concentrate. The Witches, Ro.Go.PaG, Boccaccio '70, etc), except this would revolve around a bell-hop on New Years Eve. Four Rooms was concocted like one of those many, many collaborative efforts from directors in the 60's and 70's (i.e.

Wild hearts cant be broken d d