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Like every other year, 2003 saw the release of many movies with memorable endings in one way or another, but under absolutely no circumstances would most people even think about mentioning the one that Quentin Tarantino<\/a> called perfect.<\/p>\n The Lord of the Rings: The Return of the King had about 30 of the fuckers, but it was still the perfect way to bid farewell to Peter Jackson\u2019s monumental trilogy, even if those finales became so frequent that Jack Nicholson decided he\u2019d seen enough<\/a>, got up, and left before the credits had even started rolling.<\/p>\n The one-take hallway fight might be the most famous scene from Park Chan-wook\u2019s Oldboy, but the harrowing third-act revelation and Oh Dae-su\u2019s response were the cinematic equivalent of a punch to the gut. And, you can\u2019t talk about 2003\u2019s filmic finales without mentioning the mystery of what Bill Murray whispers to Scarlett Johansson<\/a> in the closing moments of Lost in Translation.<\/p>\n Tarantino\u2019s own Kill Bill: Volume 1 ends on the bombshell that The Bride\u2019s daughter is still alive, Bong Joon-ho\u2019s Memories of Murder closes with a devastating stare directly into the camera, and Clint Eastwood\u2019s Mystic River wraps up with the tragic realisation that a case of mistaken identity led to the murder of an innocent man, but none of those compare to the real granddaddy of go-home scenes.<\/p>\n The Academy Award-winning screenwriter has plenty of opinions that don\u2019t toe the party line<\/a> when it comes to the good, the bad, and the ugly of cinema, and his unyielding admiration for Jamie Lee Curtis and Lindsay Lohan\u2019s climactic return to their original bodies in the Freaky Friday remake is right up there.<\/p>\n Look, it was a hit, and it was warmly embraced by critics and audiences, but how many people have seen the movie and thought to themselves, \u2018Wow, that is one of the most perfect endings in cinema history?\u2019 At least one, and for whatever reason, that person also happens to be Quentin Tarantino.<\/p>\n \u201cOne time, I got cornered at a party by Quentin Tarantino, who outlined in great detail, shot-by-shot, that sequence of the House of Blues to me,\u201d Freaky Friday director Mark Waters revealed. \u201cHe was outlining why it was a genius scene and a perfect ending for the movie, and I was like, \u2018This cool, man. Quentin Tarantino was, like, fan-geeking me.’\u201d<\/p>\n Further reading: Cutting Room Floor<\/p>\n Tarantino having seen and enjoyed Freaky Friday isn\u2019t that surprising, since he\u2019s spent the last three and a half decades outlining that there\u2019s very little he won\u2019t get around to watching<\/a> at one stage or another, but \u201cperfect\u201d is an awfully big word to use in conjunction with any film, especially the remake of a frivolous Disney family comedy.<\/p>\n Obviously, opinions are like arseholes, and everybody has them, but it wasn\u2019t even close to the best ending of 2003, so calling it the epitome of perfection seems like a bit much. Then again, Tarantino loves few things more than hyperbole, so it\u2019s in keeping with his reputation, at least.<\/p>\n<\/p>\n
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