Quentin Tarantino
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- DirectorOliver StoneStarsWoody HarrelsonJuliette LewisTom SizemoreTwo victims of traumatized childhoods become lovers and psychopathic serial murderers irresponsibly glorified by the mass media."I'm surprised Hollywood ain't caught up with you yet, your story'd make a much better movie than that Serpico shit."
Mickey and Mallory are two young traumatized people who embark on a road trip, killing everyone who gets in their way. The media soon turn this sick romance into the main sensation, and the pair of brutal psychopaths into cult anti-heroes.
This controversial achievement of Oliver Stone was blamed for inspiring real-life murders and I do not doubt that there is some truth in it, but it's so damn fun to watch. 35mm, Super-8, animation, back projection, fast color-switching, black & white, skewed camera angles, quick-cut editing, loud rock soundtrack, and various special effects make it a superb adrenaline roller-coaster. Why should you see it? Because this film is already a matter of general culture. Why should you love it? Because the original script was written by Tarantino, because Woody Harrelson, Juliette Lewis, and Robert Downey Jr. nailed the lead roles, because you will listen to the music of Leonard Cohen, Lou Reed, Bob Dylan, NIN, RATM, Manson, because it is extremely entertaining and simply awesome in every way possible.
10/10 - DirectorQuentin TarantinoStarsJohn TravoltaUma ThurmanSamuel L. JacksonThe lives of two mob hitmen, a boxer, a gangster and his wife, and a pair of diner bandits intertwine in four tales of violence and redemption."Now, if you'll excuse me, I'm going to go home and have a heart attack."
Last night I watched it again for the umpteenth time. And it never gets old. The movie is simply perfect. I still haven't seen Jackie and Hollywood, and all the other Tarantino's films are nines and tens, but this one will always hold a special place. It won an Oscar for the screenplay, has an awesome cast that plays rarely impressionable characters, ingenious dialogues and monologues, and legendary soundtrack. The perfect balance of drama, action and twisted humor that guarantees top entertainment and impressions that never fade.
10/10 - DirectorRobert RodriguezStarsHarvey KeitelGeorge ClooneyJuliette LewisTwo criminals and their hostages unknowingly seek temporary refuge in a truck stop populated by vampires, with chaotic results."Well, it's been one long goddamn hot miserable shit-ass fuckin' day every inch of the way"
Why the hell is average rating on IMDb just seven?! Rodriguez, Tarantino, Clooney, Keitel, Lewis, Salma, Cheech,... The story that starts as an action/crime and then suddenly twists into a horror/black comedy... And on top of that unbelievable soundtrack. What more can you expect from a movie?!
9/10 - DirectorScott SpiegelStarsRobert PatrickBo HopkinsDuane WhitakerFive career criminals gather in Mexico to pull off a bank heist. They soon realize that they are up against far more frightening creatures than the police pursuing them.Terrible piece of shit
It is difficult to describe in words how shitty this movie is. It's not a horror, it's not a thriller, there's no humor, actors are lame, directing too… Pure action and extremely bad one too. It's hard to believe that Tarantino and Rodriguez approved this, let alone signed it... but they did.
3/10 - DirectorQuentin TarantinoStarsUma ThurmanDavid CarradineDaryl HannahAfter awakening from a four-year coma, a former assassin wreaks vengeance on the team of assassins who betrayed her.Uma Thurman has really ugly feet
At the time "Kill Bill" came out, movies were a totally minor thing in my life. I watched them relatively often, but I did not payed any attention to "details". I had no idea who the director was, and the question is whether I knew at all what the director was. Besides Uma Thurman, I think I never heard of other actors back then. I rated movies on a very simple scale - whether it's fun or not. This one was fun for a ten. Fifteen years and several thousand films later, I look at movies from a completely different angle and "fun" is no longer at the top of the criteria that distinguish good movies from bad ones. Now I analyze them in more detail and I still haven't found any flaws in this one.
It could be said that Quentin Tarantino's talent is a gift from God, but I think it's far more likely that he sold his soul to the Devil. The lowest rating I have ever given to one of his films is nine, and I'm not a "fanboy". "Kill Bill" is an action thriller, and for me action films are the lowest form of the seventh art. But Tarantino's ability to create an action movie which is also an art film is fascinating. The story is crazy and great, but the least important. Camera work, fight choreography, use of color and sound and feeling for details make this film a masterpiece of cinema. The cast is more than good, and Tarantino manages to get the most out of them. I doubt that any of these actors have ever given a better performance than in this movie. And, of course, music! Music is very diverse, totally unexpected, often even unsuitable for the scenes it follows, yet again in such a perfect (dis)harmony with the divine scenery and crazy choreography, that it all leaves the viewer breathless. For movies like this one even ten is depreciation.
10/10 - DirectorQuentin TarantinoStarsUma ThurmanDavid CarradineMichael MadsenThe Bride continues her quest of vengeance against her former boss and lover Bill, the reclusive bouncer Budd, and the treacherous, one-eyed Elle.At the time "Kill Bill" came out, movies were a totally minor thing in my life. I watched them relatively often, but I did not payed any attention to "details". I had no idea who the director was, and the question is whether I knew at all what the director was. Besides Uma Thurman, I think I never heard of other actors back then. I rated movies on a very simple scale - whether it's fun or not. This one was fun for a ten. Fifteen years and several thousand films later, I look at movies from a completely different angle and "fun" is no longer at the top of the criteria that distinguish good movies from bad ones. Now I analyze them in more detail and I still haven't found any flaws in this one.
It could be said that Quentin Tarantino's talent is a gift from God, but I think it's far more likely that he sold his soul to the Devil. The lowest rating I have ever given to one of his films is nine, and I'm not a "fanboy". "Kill Bill" is an action thriller, and for me action films are the lowest form of the seventh art. But Tarantino's ability to create an action movie which is also an art film is fascinating. The story is crazy and great, but the least important. Camera work, fight choreography, use of color and sound and feeling for details make this film a masterpiece of cinema. The cast is more than good, and Tarantino manages to get the most out of them. I doubt that any of these actors have ever given a better performance than in this movie. And, of course, music! Music is very diverse, totally unexpected, often even unsuitable for the scenes it follows, yet again in such a perfect (dis)harmony with the divine scenery and crazy choreography, that it all leaves the viewer breathless. For movies like this one even ten is depreciation.
10/10 - DirectorQuentin TarantinoStarsKurt RussellZoë BellRosario DawsonTwo separate sets of voluptuous women are stalked at different times by a scarred stuntman who uses his "death proof" cars to execute his murderous plans.Ne znam šta da napišem o ovom filmu a da ne spojlujem, osim da je Tarantino još jednom dokazao svoju neprejebivost.
9/10
Za one koji žele detaljniju analzu, evo fantastične recenzije:
"Given the vast majority of major criticisms levelled at this film, it would appear that a large percentage of the audience has completely missed the joke, or simply, didn't find it at all amusing. With Death Proof (2007), Tarantino creates such a loving homage to a notoriously cult cinematic sub-culture that many people seem unaware of how to approach it or even how to appreciate the sheer fact that the film purposely goes out of its way to ape the style of late 60's and early 70's exploitation cinema in look, feel and content. The film isn't meant to be taken entirely seriously, but rather, is a parody and/or pastiche of the kind of films that the vast majority of mainstream audiences simply wouldn't want to see. I'm talking about films such as Two-Thousand Maniacs (1964), Ride the Whirlwind (1965), Manos: The Hands of Fate (1966), Satan's Sadists (1968), The Big Bird Cage (1971), Boxcar Bertha (1972), Fight for Your Life (1977) or Satan's Cheerleaders (1977); low-budget films made with often-non-professional actors, little in the way of conventional film logic, and highly controversial in terms of plot, theme and content.
It also sets out to pastiche the "grindhouse" cinema phenomena, with the original idea of two films being shown as a double feature at drive-in movie theatres from state to state, with both films often being re-cut and re-edited, not by the filmmakers, but by the theatre owners themselves. This is evident in the amusing switch in title; with the film opening with the caption 'Quentin Tarantino's Thunderbolt', before awkwardly cutting to an obviously out of place title card with 'Death Proof' crudely emblazoned across the screen. This is also the explanation for the purposeful mistakes in continuity, the sloppy editing and the switch between colour and black and white, as well as the façade of severely deteriorating film stock. It's not sloppy film-making, but rather, a purposeful appropriation of sloppy film-making geared towards appealing to the kind of obsessive movie aficionado who gets the references and can appreciate the joke that Tarantino is attempting to pull.
With this in mind, it seems hard to understand what people are complaining about. Do audiences actual expect this film to keep them enthralled and entertained when the vast majority of them would balk at experiencing many of the low-budget, semi-obscure films that influenced it? Hardly! The accusation here that "nothing happens" is fascicle. The fact that there is film running through the camera is proof enough that something is happening, with the hilariously bland dialog deconstructing the film in much the same way as the purposely amateurish composition, editing and sound all intended to fracture the cinematic language in the same way that Godard did; by reminding the audience that this is the film and the point of the film is to experience the sights and sounds that unfold before us. Added to this the colourful iconography, the music, the characters, the girls in tight t-shirts, the for once entirely justified performance from the man himself, all reminding us that this is a joyous, darkly comic romp in which the point is not "why?" but "why not?".
The effect is reminiscent of Kill Bill (2003), which at times felt superficial or perhaps even too knowing for its own good, but still demonstrated to us the filmmaker's great use of tone, texture, colour and movement, as well as turning many people on to a whole new world of cult Japanese cinema; from the works of highly individual filmmakers like Seijun Suzuki, Kinji Fukasaku and Takashi Miike, to cult performers like Sony Chiba. Death Proof attempts to do something similar with the likes of the American revisionist road movie, the B-cinema of Roger Corman and the femsploitation subgenre of films like The Big Bird Cage (1972), Caged Heat (1975), Day of the Woman (1978) and Ms. 45 (1981); a coolly ironic series of films in which wronged women take bloody revenge in an often elaborate and over the top style, chiefly intended to give a feminist slant to the still rampant degradation and misogyny prevalent in the exploitation genre.
Other reference points are more obvious as they're mentioned explicitly in the film; notably car chase cinema such as Vanishing Point (1971), Two-Lane Blacktop (1971), Dirty Mary, Crazy Larry (1974), Gone in 60 Seconds (1974) and even Spielberg's Duel (1971). Some have complained that the film fails on account of its lack of action and emphasis on dialog and technique, but this seems churlish when you think of the films being referenced; with Vanishing Point featuring a number of cryptic, desert-set sequences in which characters talk and talk and talk, while Two-Lane Blacktop punctuates its scenes of hard driving and drag-racing with much in the way of meandering small-talk. Then we have the fact that films like Reservoir Dogs - which takes place almost entirely within a single setting - and Jackie Brown - which places emphasis entirely on character - use dialog to not only create the characters but to also tell the story.
Regardless of this, Death Proof is meant as a piece of entertainment. There's no real desire here for Tarantino to prove what kind of filmmaker he is because he's already done that with the number of great films that came before. Sure, it can be seen as self-indulgent, but surely those of us familiar with the style of film-making being referenced here will revel in this particular kind of extravagance, loving everything from the continually inane female banter to the awesome scenes of high speed carnage. If you're not a fan cult cinema or exploitation cinema or indeed a devotee of Tarantino's work then this film really isn't going to impress you. There's no shame in that. Some films are made for a niche audience, destined to be a cult in their own right. However, for those who get it, Death Proof has the potential to be a truly exhilarating, one-off piece of film-making." - Graham Greene - DirectorQuentin TarantinoStarsBrad PittDiane KrugerEli RothIn Nazi-occupied France during World War II, a plan to assassinate Nazi leaders by a group of Jewish U.S. soldiers coincides with a theatre owner's vengeful plans for the same.I appreciate Tarantino very much, but something like this I could not expect. He gathered fantastic group of actors who all overcame themselves, and such great competition Christoph Waltz easily stole the movie. I have absolutely no objections to it. Screenplay, acting, directing, cadres, sound, music,... perfection. One of the very best movies I ever saw.
10/10 - DirectorQuentin TarantinoStarsJamie FoxxChristoph WaltzLeonardo DiCaprioWith the help of a German bounty-hunter, a freed slave sets out to rescue his wife from a brutal plantation owner in Mississippi.Auf Wiedersehen
My day usually looks like this - I get up about half-past seven, work all day, get back home completely beaten, eat something and then watch a ninety-minute movie, and I fall asleep at the half. Today I woke up at four AM, worked all day, got back home more beaten than usual, are something, played three hours log movie, and I saw it through without blinking. Enough said. I wonder if Tarantino knows how to make a movie that is not fantastic. So far, I didn't rate any below nine out of ten. I will not analyze this one because it is perfect in every aspect. I just want to mention the music. The music is, in my opinion, totally inappropriate for the genre, place and time in which the story is set, and often for what is happening on the screen, and it very distinctly stands out from the film. On the other hand, music is excellent and fiercely enhances the effect of the film. The music is in a perfectly harmonious discord. Madness.
10/10 - DirectorDamián SzifronStarsDarío GrandinettiMaría MarullMónica VillaSix short stories that explore the extremities of human behavior involving people in distress.This is not Tarantino movie, but if you love Tarantino you'll surely love this one :D
Argentinian "Tarantino" consists of six stories and was nominated for Oscar. The second and the fifth story are a bit below the level of the rest, but the rest is pure 10/10.
My only objection to this masterpiece craziness is that they wasted six fantastic ideas on an omnibus. Every single of these stories could have been developed further into an individual movie, so we could have six masterpieces instead of just one. Stories are completely unrelated, so there was no need to make the six-pack out of them. Pity.
Nonetheless, this movie blew my brains out. For 10/10 all six stories should be perfect, but two aren't, so
8,5/10 - DirectorQuentin TarantinoStarsSamuel L. JacksonKurt RussellJennifer Jason LeighIn the dead of a Wyoming winter, a bounty hunter and his prisoner find shelter in a cabin currently inhabited by a collection of nefarious characters.Tarantino's last movie belongs to western sub-genre known as anti- western. While classic western has clear, even black and white distinction between good and evil, where we know from the start who's good and who's bad and we are drawn to root for good guys, anti- western brings more realistic picture of Wild West. In old movies white folks are good guys and Indians are cruel primitives, or sheriff against evil gang and similar fairy-tale plots. Pretty unfair and unrealistic. Anti-western is trying to show things in shades of gray, from the "villains" point of view, making them just another people who are fighting for their spot under the sun.
This genre by itself raised up my expectations. And when you add Tarantino as writer and director, Morricone in charge of music, and in leading roles we have Samuel L. Jackson, Kurt Russell, Michael Madsen, Tim Roth, this movie is masterpiece in advance. Board game "who-did- it murder mystery" played out as theater play and made into movie. Everything is played out in single room and it's based more on dialogue than action. It starts slow, gradually builds atmosphere and culminate in explosive finale. Almost everything in this movie is Oscar material, from the screenplay, scenography, camera, directing to excellent acting. Jackson is expectedly great in a role that's perfect for him, but Jennifer Jason Leigh definitely stole the movie with her absolutely magical performance. Still, movie misses "that something" for me to rate it ten out of ten.
9/10 - DirectorGyörgy PálfiStarsIsabelle AdjaniAnouk AiméeWoody AllenA simple yet timeless love story between a man and a woman, told using scenes edited together from hundreds of other films."Umro je drug Tito"
One of the most original films I've ever seen is composed entirely of scenes stolen from other films. Hungarian director György Pálfi has made a universal romantic drama, skillfully and humorously combining clips from several hundred films, so black and white and color scenes, different genres and shooting techniques, actors, locations and epochs, rapidly alternate before our eyes, all followed by nicely blended music, also borrowed from other films and series. Clips were reportedly downloaded from torrent sites and, in order to avoid copyright lawsuits, the film was published as educational material by the Hungarian University of Film and Theater. It may seem confusing and even unwatchable at first, but do not let it deter you, because you will get used to it very quickly and after a few minutes you will no longer need extra concentration. The idea is ingenious, a realization hypnotizing, and I am afraid to even speculate how extensive his knowledge of world cinema is, as well as how much time and patience it took to assemble and edit this madness. Even if we disregard all the other qualities, the effort itself deserves a maximum rating. Bravo!
10/10 - DirectorQuentin TarantinoStarsLeonardo DiCaprioBrad PittMargot RobbieA faded television actor and his stunt double strive to achieve fame and success in the final years of Hollywood's Golden Age in 1969 Los Angeles.Three hours of beautifully shot nothing... or is it?
I saw the new Tarantino last night and I think my impressions haven't settled just yet. At first glance, this is a beautifully filmed, but empty film in which almost nothing happens, and seemingly without a point, so I understand the people who didn't like it. Honestly, I'm not even sure I fully understood it. On the other hand, the top cast, beautiful camera, Tarantino's directing, and some typically Tarantino's elements (although, at first sight, the film overall isn't his style), and most of all the nostalgic atmosphere of Hollywood from the setting of the Golden Age, leave an unexpectedly strong impression, and even in the slowest and seemingly the most pointless of moments it is not boring and has kept my undivided attention from start to finish. And those more versed in the era that the film portrays and events it skillfully insinuates will find additional satisfaction in innumerable details that will go unnoticed by the average viewer. I can not say that it is a masterpiece, but it certainly is a work of art, and is definitely worth watching, whether you're a fan of Quentin Tarantino or not.
8/10