Tarantino Is the One Who Is the Whole Movie Himself.Actually I saw this movie just because of Tarantino. Even though James Belushi was tops too, the movie is a mediocre piece of work: trivial plot line, standard dialogues and so-so acting.If you ever thought of getting into the Emperor's (Tarantino) soul, you can find the portal right here in this movie. There was the shot that covered all costs of getting this film, the shot where Tarantino goes still for a moment, and that very moment the whole different Universe opens in his eyes. That moment lasts less than a second, but you can catch it. It's right in the end, when at the restaurant Johnny, the cops, and everyone is watching the girl's show, after the cop says: "Hey look, it's that guy…", then there is a shot of Johnny (Tarantino), and first milliseconds of that shot is actually the portal.I would say that he is a male Giaconda there, but not as twisted and troubled as she is. She is an oppressed strong woman, with unbelievable personal magnetism, Leonardo succeeded in transmitting her energy of a fighter in the portrait, since then she is fighting with everyone who looks at her. It's possible to defeat her, but it is easy to be defeated. Tarantino possesses the same, if not more powerful, personal magnetism and it is clearly seen in that shot. His eyes are open, undisguised there (this kind of unmasking can take place only when one is too tired to be able to hold his mask, - after Pulp Fiction he really was tired and "Destiny…" was just in time to "catch up" his real unmasked self), and you can really see how deep, deeper than the blue, they are. So much depth, power and knowledge reflected in them, that you almost think you are looking into the Infinity itself.Well, just for the sake of that shot I take the DVD again and again, every time I want to dive into the Soul Ocean of the most devout movie worshipper ever existent on the planet Earth.

"Destiny Turns on the Radio" is an extremely fun trip into a weird mythological netherworld of Las Vegas. It is a film that implements a purposefully corny magical realism to tell a story of an escaped convict rediscovering his destiny. And magical it is. This film is in a class of a few other 90's films (all of which never really found an audience outside the late-night-Cinemax crowd) that capture a magically bright, giddy, and surreal atmosphere -- this one in a gleeful Las Vegas setting. Its classmates include "Box of Moonlight" and "Mojave Moon".Despite a few technical flaws (the sound's iffy and so is some blocking -- and I'd lose Tarrantino if this was my film), the movie just works in an odd sort of way. The cast seems to be having a great time (note especially Tracey Walter and James Legros' father-son's-best-friend bonding scenes), the locations and cinematography are dazzling, and it provides an intangible escape into a weird cinematic netherworld. It's as if some portal opened up to these filmmakers in this specific class of the mid-90s and enlightened them all with late-night-Cinemax charm. More, please!

It is said:Uttamo brahinasadbha'Va madhyania' Khayyam ha'Ravi'a' Japastutih sya'dad-ha a' murtipu'ja Dhaka'Dhaka'Society at large has lived in relative indifference of the cohesive power of Dylan McDermott (Wonderland, TV's The Practice, Cowboy Way) culture. The spiritual values of Dylan McDermott culture are integrative, relational and adaptive. McDermott and McDermott's father Pappy, played by Tracey Walter (Tv's Nash Bridges), seem quite startled to notice a man who appeared from their hot-tub and that man is Destiny, as played by the Q-man (Tarantino). Ideation on James Belushi (Tv's According To Jim, Daddy's Boy, Animal House, Mulholland Falls) is, in this movie, anyway, the best process of intuitional practice. The second best is Dhaka'Na (meditation) and dharana (concentration). LeGros and Travis are inferior and idol worship (Tarantino) is the least favorable.This is what is called in Western philosophy a fallacy of a 'straw man argument'. that is, you present the notion of people worshiping Hollywood pretty-boys which they presume will enable them to achieve some sort of cosmic liberation. McDermott flounders and can barely do anything. LeGros and Travis are wasted and Travis didn't sing those songs, you know. Tarantino gives this movie it's surviving 9.1/2 star ruling. Furthermore, it survives being a Bomb with the assistance of David Cross (Men In Black 1 and 2, Showboat) and Bobcat Goldthwait (Blow, Indepenence Day) but even their parts are also a kind of sadhana. Also starring Sara Trees (Legend of Curly's Gold Strike) as Lucille's friend.The tantric paths are the vehicle, as it were, and realizations are stations along the way....

Destiny is one of those films that is neither great nor terrible. Taranitno is one of the greatest filmmakers of all time. But his acting abilities are very limited. The story is sort of creative, but at the same time trying to be a indie film too hard. James Belushi puts on a good performance that seems almost related to his character in "About Last Night" but with a more violent twist. And you can't forget Allen Garfield, terrific guy. But, this film will merely exists. Don't over emphasize the meaning of this film based merely on the existence of Quentin Tarantino. Only Quentin knows why he did this terrible movie, don't try and rationalize Quentin. This film is an example of Quentin's personality. He does whatever the hell he wants to.