Four hotel rooms, four outrageous stories, and only one bellhop to go around. Tim Roth is hilarious as Ted, left to work the New Year’s Eve shift at the Mon Signor Hotel, but little does he know what a New Year’s Eve it will be. The film, broken into four stories (one for each room, get it?) also boasts four directors, each one penning their script and shooting the action. Alexandre Rockwell and Allison Anders deliver entertaining segments, one about a domestic quarrel and a coven of witches, respectively. Robert Rodriguez spins a wacky yet somehow cool story of a couple of badass kids, but it’s Q.T. who brings home the bacon with his penthouse tale about a sinister bet, aptly titled The Man from Hollywood. Tarantino goes Hitchcock in his execution, editing his already long takes, Rope style, into an almost seamless extended sequence, right up until the actual meat of the story (I won’t give it away), an impressive and novel feat from someone already so partial to long takes (you should have copied his notes, De Palma, when you shot the opening sequence of Snake Eyes). Check out Roald Dahl’s short story, The Man from the South, for the source of Tarantino’s inspiration, not to mention an even darker display of the depravity of human addiction. Too many cooks in the kitchen, maybe, but with so many stellar moments in one film, who cares about all that?