But how do they stack up against one another? OG: As a historical jamboree about the hideousness of white supremacy, Tarantinos’s slave drama is a subversive triumph, but as storytelling I think it’s a mixed bag. A few years later, Spielberg, Lucas and a generation of film-school brats riffed on what had come before. Tarantino grew fixated on the film’s 70mm cinematography, but that has to go down as an irony of film history, since the visual “largeness” is lavished on a single claustrophobically gloomy set, resulting in what feels like the world’s most lavish episode of “Gunsmoke.”. This is the closest thing Quentin has made to a hang-out movie, and it’s a funny and captivating one, never more so than when Margot Robbie’s Sharon Tate goes to a matinee to see herself on screen. OG: Tarantino’s hypnotically enthralling World War II epic takes its title from a 1978 Italian action-combat potboiler, but this is still the one QT movie with an aesthetic rooted in the ’60s — in the last fully functioning moment of the studio system, when directors like Robert Aldrich (“The Dirty Dozen”) and Brian G. Hutton (“Kelly’s Heroes”) found a trip-wired version of old-guard Hollywood in the spectacle of fighting the Nazis. Certainly, the idea that films could be made by fans dates back at least to the French New Wave, when a group of die-hard critics stepped behind the camera. Tarantino, however, ups the narrative intricacy, and the stakes, too. 2002 (Documentary) - Himself Baadasssss Cinema: 2002 (Documentary) - Himself Jackie Chan: My Story: 1998 (Documentary) - Himself Jackie Brown: 1997 (Movie) - Executive Album Producer Full Tilt Boogie: 1997 How could he match — much less top — what had come before? But it took a former video store clerk and B-movie savant to sift through genres that weren’t taken seriously in their time and reconfigure their DNA in such a way that made them hipper than ever. The extended slow-poke stagecoach ride that gets things rolling seems to be planting the seeds for a tricky drama of one-upmanship, but once the film arrives at a giant log cabin in the middle of the wintry nowhere, it turns into a variation on “Ten Little Indians” that’s more malevolent than clever, with characters so ill-tempered that you’re only too happy to see them knocked off. Tarantino wrote the character (whose name hails from a Spaghetti Western hero) for Will Smith, but got a grittier and more grounded performance from Oscar-winning “Ray” star Jamie Foxx, who goes tête à tête with Leonardo DiCaprio in the most scenery-chewing performance of the director’s oeuvre to date — a bar that had been raised awfully high already by the likes of Christoph Waltz and Samuel L. Jackson. A heist thriller as real as a Cassavetes caper, with a pretzel-logic time structure that envelops you by getting inside your head, not to mention the most weirdly jubilant torture scene in movie history (set to yet another Super Sound of the ’70s, “Stuck in the Middle with You”), “Reservoir Dogs” is a red-blooded tale of trickery and loyalty that finds a desperate, indelible humanity in every con and confession. Variety and the Flying V logos are trademarks of Variety Media, LLC. Breaking Down the Quentin Tarantino Cinematic Universe Game of Thrones Season 8 Keeps Breaking Records Box Office: Ride Along 2 Dethrones Star Wars: The Force Awakens He first began his career in the late 1980s by directing, writing, and starring in the black-and-white My Best Friend's Birthday, a partially lost amateur short film which was never officially released. Quentin Jerome Tarantino (/ ˌ t ær ən ˈ t iː n oʊ /; born March 27, 1963) is an American film director, screenwriter, producer, and actor. Tarantino has always been a bit too liberal with his use of the N-word, although the racial politics of this movie are endlessly fascinating, forcing America to confront its sordid history, while paving the way for “12 Years a Slave” the following year. Here, his references include Eastern kung fu and crime films, an extended Brian De Palma riff (the Darryl Hannah hospital sequence) and a key flashback presented as anime. OG: Tarantino plugs deep into the movie and TV industry of Los Angeles in 1969, when the fading embers of the studio system mingled with the hipster vibe of the New Hollywood, when the rise of spangly fashion and Top 40 made the world glow and the hidden presence of Charles Manson made it tremble, and when a has-been TV star like Rick Dalton (Leonardo DiCaprio) could chuck it all to make a spaghetti Western, with trusty stuntman Cliff Booth (Brad Pitt) at his side. Tarantino stretches time to new extremes, while inviting audiences to bask in the pleasure of his characters’ company. —OG. Somehow, the homage-driven auteur had managed to deliver a film that seemed simultaneously fresh and familiar, surprising in its tone and style, even as it expanded Tarantino’s peerless ability to recast pulp and B-movie tropes as postmodern art. With “Pulp Fiction,” Tarantino breathed fresh life into Bruce Willis’ and John Travolta’s careers, but there was something far more daring (by the industry’s sexist, racist standards) about showing the same reverence toward an actress known primarily for blaxploitation movies — buxom, low-brow diversions with titles like “The Big Bird Cage” and “Sheba, Baby.” Fittingly enough, “Jackie Brown” is the one Tarantino movie with soul, hinging on a romantic connection between a desperate flight attendant (Grier) and the bail bondsman (Robert Forster) who helps her rip off her gun-running boss (Samuel L. Jackson). His father, Tony Tarantino, is an Italian-American actor and musician from New York, and his mother, Connie (McHugh), is a nurse from Tennessee. © Copyright 2020 Variety Media, LLC, a subsidiary of Penske Business Media, LLC. And if Tarantino, at the climax, feels free to rewrite the ending of WWII, he does it with a pugnacious audacity that takes the Hollywood concoctions “Inglourious Basterds” draws upon and trumps them at their own game.
OG: It’s almost too meticulously crafted, revealing the seams of an Elmore Leonard plot that Tarantino had already bettered, and the soulful humanity of Pam Grier and Robert Forster’s love dance doesn’t stop that aspect of the movie from becoming a bit draggy. PD: The movie features some of Tarantino’s best set pieces (especially the blood-chilling Nazi house raid that opens the film), but I’m slightly less enthusiastic about the whole. The movie has a gaudy nastiness that won’t quit, from the intricate jam session of trash-talking girls that kicks off the action to Kurt Russell’s death-rattle performance as Stuntman Mike to the insane mutilating brutality of the car crash (set to the jaunty strains of Dave Dee, Dozy, Beaky, Mick & Tich’s “Hold Tight!”) that climaxes the film’s first half. 1 and 2” as one film, but we’ve assessed them separately) and possibly just one more to come, Tarantino has crafted an oeuvre ripe for debate. This is the only Tarantino movie that drags. The Tarantino touch — introduced in “Reservoir Dogs,” taken up a notch with “True Romance” — went mainstream in a major way with this outrageous, ultra-stylized remix of QT’s many eccentric obsessions, from ’70s movies to foot massages. PD: These days, audiences are accustomed to the long wait between Tarantino movies, but back in 2003, a delay of six years was enough to make us worried: Had Quentin lost his mojo? PD: I love the last 30 minutes, with its bravura stuntwork, but can’t abide the bloody, slobbering buildup and over-the-top misogyny we must sit through en route. Quentin Tarantino, Writer: Reservoir Dogs. Peter Debruge: I like this movie more than most, and am fascinated by the fact that it exists in so many versions (including a new four-episode “extended version” available from Netflix), but admit it’s the one Tarantino movie I can live without. OG: Tarantino’s half of the schlock-double-bill feature “Grindhouse” is a crash-and-burn homage to the road-demon genre of “Vanishing Point” and “White Line Fever,” and it’s the most knowing plunge into the depravity of drive-in kicks he’s ever taken. The Best Quentin Tarantino Movies, Ranked By Eric Shorey July 10, 2020 Of all the contemporary film auteurs, perhaps no one’s work has permeated pop culture as thoroughly as Quentin Tarantino. PD: It’s a pleasure to see him tackling vintage Hollywood, although the suspense doesn’t quite work for me. The performances are uniform perfection, from Brad Pitt as the so-badass-he’s-funny redneck Nazi fighter Lt. Aldo Raine to Michael Fassbender as the film-critic-turned-undercover-soldier Archie Hicox to Diane Kruger as the righteous actress-turned-spy Bridget von Hammersmark. OG: From the wordplay to the gunplay to the diner dancing to the time-bending death and “resurrection” of Travolta’s Vincent Vega, every moment of Tarantino’s masterpiece plugs you into the moment, to the point that there’s no other movie I would rather be in. PD: Tarantino’s most financially successful film extends the spirit of radical historical revisionism sparked when his “Inglourious Basterds” killed Hitler, putting a slave named Django in the thrilling position to exert bloody, explosive revenge on those who whipped, sold and oppressed him. OG: I don’t buy that Tarantino’s movies are just pop pastiches, but this one so is that it feels — thrillingly — like a mash-up of every genre he can jam into the blender.
Variety's critics rank all of Quentin Tarantino's films from "Pulp Fiction" and "Reservoir Dogs" to "Once Upon a Time" in Hollywood.
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