The Hateful Eight (2015) Review

The Hateful Eight (2015)

Directed & Written by Quentin Tarantino

Starring: Samuel L Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demián Bichir, Tim Roth, Michael Madsen, Bruce Dern, James Parks, Channing Tatum

Narrated by Quentin Tarantino

Music by Ennio Morricone

Plot Synopsis: (via IMDB)
In 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.

My Opinion:

Yesterday I reviewed Jackie Brown as part of my 2017 Blind Spot Series & for Quentin Tarantino’s 54th birthday. In that review, I talked a bit about my disappointment over The Hateful Eight. It was hard to not compare the two films as I watched them almost back to back but it made me appreciate Jackie Brown even more and made me realize, in comparison, just how overblown The Hateful Eight is.

I already went on about this movie in yesterday’s review so I’ll keep this one short: The Hateful Eight is easily my least favorite Tarantino film (I’ve ranked them all HERE). It’s not a horrible film but he’s clearly believing his own hype too much & needs to return to the simplicity of a really good script as in things like Reservoir Dogs. His films have been getting more & more over the top and this one finally went fully overboard. It’s one thing to be over the top but another to be so dragged out & rather unenjoyable, which is something that I can’t say of any of his other films.

Okay – I’ll try to say some good things about this movie. Well, the best thing about it is Ennio Morricone’s score (but I’ll come back to that). The two main reasons I watched this were for Morricone and to see Jennifer Jason Leigh’s Oscar-nominated performance since I’m a fan of hers (plus to be able to say I’ve seen all of Tarantino’s films, I suppose). The clue is in the title and all these characters are indeed hateful (which isn’t going to make it easy to like a movie very much) but Leigh was great & her character was the one I enjoyed watching the most. I’m glad she got the recognition for this role as the movie itself lets its talented actors & composer down. Samuel L Jackson & Kurt Russell were also very good (although Jackson was, once again, his over-the-top Tarantino self) but no one else in the cast really stood out compared to these three. The other characters were extremely weak for a Tarantino film – he usually manages to make even the smallest characters in a film interesting. Maybe it should’ve just been The Hateful Three. But that’s a shit title. Did he come up with the title first & then had to write in five extra boring characters? Ah ha! That must be what happened. Plus, I think there were actually more than eight so he’s full of shit (you don’t count, Channing Tatum! The Hateful Nine isn’t a good title).


But back to Ennio Morricone. Morricone is a movie music God. Like I said in my Jackie Brown interview, the one thing Tarantino always does right in his movies is the music and I know he was overjoyed when he got Morricone to agree to score this (I want Morricone to score my whole life. That would be awesome). Is it Morricone’s best score ever? Well, no, but you can’t really top something like The Good, The Bad And The Ugly. Yes, he probably won the Oscar for this mainly because the Academy realized they’d seriously f*^kd up in never giving him an Oscar (other than an honorary one) until now. I hadn’t even realized that beforehand – he’s someone you’d just assume already had one. Anyway! Here’s a good interview with Tarantino talking about how he got Morricone to do this score. Wow. Morricone is a true professional. It was a very last minute thing and Morricone did it in very little time & in a way he’s not used to usually working. Combined with unused parts of his score for The Thing, I can’t believe they managed to pull this all together so well in that length of time. Tarantino of course wants to use him again so just imagine what we’d get if Morricone is involved in the project from the very start. It gives me chills thinking about it. I just hope, if they do work together again, that the movie can live up to the score next time!

Oh. The cinematography was good too. There’s one more thing! The last & final good thing. The outdoor shots were quite beautiful and the opening, combined with Morricone’s score, was very good (I’ll post the opening scene below). Too bad the majority of the film is inside a dark, tiny cabin!!! To start out in a rather epic sort of way with this beautiful snowy landscape and to then end up stuck in a dark little cabin for what felt like far more than the 3 hour & 7 minute running time was so damn cruel. To us. Cruel to the audience. Never mind the characters! Although I suppose they would’ve frozen to death outside, so…

The Hateful Eight. It’s too damn long. It has a good score from a true master. It has three really good actors doing the best they can with a weak script. It’s pretty to look at when they’re actually outside that goddamn cabin. It’s violent as f^*k. It’s definitely a Tarantino film. I still like Tarantino’s films & I’ll still watch them all despite finding this one the most disappointing so far. To be fair, it could’ve been worse. But it could’ve been SO much better. And this review was meant to be short. Like Tarantino, I sometimes don’t know when enough is enough.

My Rating: 6/10

Jackie Brown (1997) Blind Spot Review 

Happy Birthday to Quentin Tarantino, who is 54 today. I figured this would be a good time to finally review my 2017 Blind Spot choice of Jackie Brown. And tomorrow I’ll be reviewing The Hateful Eight, which I’ve finally just watched as well. At least I liked one of these two movies! Here’s my review for Jackie Brown

Jackie Brown (1997)

Directed by Quentin Tarantino

Based on Rum Punch by Elmore Leonard

Starring: Pam Grier, Samuel L. Jackson, Robert Forster, Bridget Fonda, Michael Keaton, Robert De Niro

Plot Synopsis: (via IMDB)
A middle-aged woman finds herself in the middle of a huge conflict that will either make her a profit or cost her life.

My Opinion:

I can’t believe it took me so long to get around to finally watching Jackie Brown, the only Tarantino-directed film I’d never watched (okay – not counting that Four Rooms movie or his guest director credit on Sin City, which isn’t a movie that I liked anyway).

Jackie Brown is an odd one in that I’m of course used to Tarantino’s style now & this one has a very different feel to it. I suppose the main reason for this is that the film is an adaptation of Elmore Leonard’s 1992 novel Rum Punch instead of a Tarantino original story like his other films. I think this works in the film’s favor but I’d also hazard a guess that it isn’t the number one favorite film for most diehard Tarantino fans.

I’ll be honest – I think someone needs to rein Tarantino in a bit. Not long after watching Jackie Brown I watched the overblown The Hateful Eight and it definitely made me appreciate Brown much more. At first, I wasn’t sure what to think of Jackie Brown. It’s a good but uneven film and, although I confess that I know nothing about the book and have never read anything by Elmore Leonard in my life, it feels pretty obvious which bits were probably embellished by Tarantino. There’s a welcome subtlety to parts of Jackie Brown that’s especially missing in Tarantino’s most current films. Don’t get me wrong – I like his movies and know they’re going to be over the top (Kill Bill being my favorite, which is OTT to the extreme, but in a good way). But…. What am I trying to say? I don’t know. I think Tarantino is just another director who has come to believe his own hype a bit too much & he needs to take a step back and focus on the great writing that made his older films like Reservoir Dogs such a success. Okay – I’m focusing too much on not liking The Hateful Eight. More about that one tomorrow but I can’t help but compare since I watched these two almost back to back & they’re so very different.

I loved the overall mood of Jackie Brown, which was of course helped once again by the use of a truly fantastic soundtrack. If there’s one thing that Tarantino always does right, it’s picking the music for his films. I loved this soundtrack so much. Best music (as in, songs as opposed to score) that I’ve heard in a film in a long time! Remember when movie soundtracks used to be good like this?? Sorry to go on about this so much but it’s not something that is done as well in films nowadays. When I think back to my teen years, I bought loads of movie (song) soundtracks. There were so many good ones then. What the hell happened? The music in a movie is very important to me as I think it plays such an integral part in creating a film’s mood. I keep saying “song” to differentiate as I’m actually more of a lover of original film scores than of “song” soundtracks usually but, when a movie puts together a lot of previously recorded music as perfectly as Jackie Brown does, it makes me happy. Hey – at least I have to give credit to Tarantino for getting Ennio Morricone to score The Hateful Eight. I worship people like Morricone & John Williams the way that most people worship the pretty celebrities who are in front of the cameras. Maybe I’m weird?! And, shit – I’m talking about The Hateful Eight again. Sorry.

As I said, there’s a subtlety to parts of Jackie Brown unlike in Tarantino’s more recent works and it’s these understated scenes that were easily my favorite bits of this movie. Pam Grier & Robert Forster were brilliant and I was happiest when the movie went back to the scenes involving their characters. Loved their chemistry! I totally wanted a love story there (if you’ve not seen it, I won’t say if this happens or not).

There are bigger name stars in this one (Robert De Niro and, of course, Samuel L. Jackson) but the scenes involving them were the ones that I felt had a little too much of that “Tarantino vibe” going on. Who the hell doesn’t love Samuel L. Jackson, right? He’s awesome. But he’s his usual “Tarantino-self” in this and, for once, I enjoyed having those Grier & Forster scenes involving more than just Tarantino/Jackson sweary banter and extreme violence.

Speaking of extreme violence, this is the least violent Tarantino movie (well, maybe that Four Rooms thing isn’t violent?). I think it’s the first of his films that I was able to watch with my eyes fully open the entire time! I mean, it’s of course plenty violent but it’s not explicitly shown. I’m a wuss. I prefer to not see full-on gore. Yet Kill Bill is my favorite so I suppose that makes no sense… Eh, I just love a good revenge story (and women who kick ass). And I have yet to watch all of Kill Bill with my eyes fully open. I guess, looking at it that way, Jackie Brown is the first & only Tarantino movie that I’ve actually seen. 😉 And I appreciated that.


Perhaps Tarantino should try adapting someone else’s work again sometime. I do like his style and I didn’t mind Jackie Brown having that Tarantino stamp on it but I also liked the way in which adapting someone else’s work meant he kind of managed to keep the story more on track & to not go so medieval on our asses. Again, I think Jackie Brown is also unfortunately somewhat uneven because of this and it’s certainly not a perfect film but I do think it’s better than several of Tarantino’s other films (yet I don’t think it’s widely accepted as so?). I did a post a very long time ago ranking the Tarantino films I’ve seen, which I’ve finally updated HERE. Have a look if you really want to see where I’ve placed Jackie Brown (although you can probably guess where The Hateful Eight ranks!).

Jackie Brown is a good film. It probably deserves more credit than it gets and I’m glad to have added it to my Blind Spot list as it was well worth finally watching. Grier & Forster are the true stars who make this film and it’s unfortunate that they’re somewhat overshadowed by “more famous” names being in the movie as well. I have a confession: I seriously don’t know Robert Forster. I know his face but never could have told you his name and had to look him up after watching this. He’s been in 177 things!!! And I watch loads of movies & know my actors. Is he one of these actors who flies under the radar & won’t get any proper recognition until he’s gone? Or have I just seriously overlooked him for years? He’s so damn good in this & I’m happy to see that he got an Oscar nomination for this role. But… Where the f*^k is Pam Grier’s nomination?!? What the f*^k, you m*^herf*^king Academy?!? I’m going to go Samuel L. Jackson on your asses! She’s great. She’s super sexy at fortysomething. I want her & Forster’s characters to live happily ever after (maybe they do? I’m not saying). I’m going to go listen to that Delfonics song now…

My Rating: 7.5/10

Didn’t I Blow Your Mind This Time – The Delfonics:

And here’s the opening of Jackie Brown, with Bobby Womack’s Across 110th Street. God I love this soundtrack. Can I just post YouTube videos of the whole soundtrack??:

Who Is He (And What Is He To You?) – Bill Withers:

And this one is bizarre. I like it! Good job, Tarantino. I’ll stop posting videos now. I need to buy this soundtrack… The Lions And The Cucumber – The Vampire Sound Incorporation:

Wait. Gotta end with Pam Grier! Long Time Woman – Pam Grier:

Shit. I didn’t post Strawberry Letter 23. Or Street Life… (This is a good soundtrack. Watch the movie. Listen to the songs). 🙂

True Romance (1993) Blind Spot Review

True Romance (1993)

Directed by Tony Scott

Screenplay by Quentin Tarantino

Starring: Christian Slater, Patricia Arquette, Dennis Hopper, Val Kilmer, Gary Oldman, Brad Pitt, Christopher Walken

Music by Hans Zimmer

Plot Synopsis: (via IMDB)
Clarence marries hooker Alabama, steals cocaine from her pimp, and tries to sell it in Hollywood, while the owners of the coke try to reclaim it.

My Opinion:

*This is my fourth Blind Spot review after An Education, Summer Wars & Natural Born Killers.

When choosing my Blind Spot movies for this year, True Romance was the first one I thought of as I’d been meaning to watch it for years but, for some reason, just never got around to it. I like Tarantino and love both Christian Slater & Patricia Arquette so I was really excited to finally make myself sit down & watch this. I ended up with two Blind Spot movies written by Quentin Tarantino as I also added Natural Born Killers as kind of an afterthought and wasn’t even really looking forward to watching that like I was with True Romance. However, I was very surprised to find that I was slightly disappointed with True Romance while I actually thought that Natural Born Killers was the much better film.

First of all, I’ll say that this movie has plenty of what Tarantino is good at: cool characters & fun dialogue. It also has another thing he’s sometimes good at: a messy plot. Normally, I don’t really mind that so much as long as everything else is good but I did find the messy story a little distracting with this one. I admit I watched this late at night & was very tired but did I miss whatever happened to Christopher Walken? It seemed like he was introduced & that he was important but then he just disappeared? I also thought the big finale felt a bit forced & silly. I wonder if the movie would be much different if it had actually been directed by Tarantino as well? This came out after Tarantino’s Reservoir Dogs (although I think it was written before?) but Reservoir Dogs is the much better film overall.

Don’t get me wrong, though – this movie is fun & I did enjoy it. It’s surprising I never watched it as I was totally in love with Christian Slater in those days thanks to Heathers, Pump Up The Volume & Untamed Heart (shut up – I adore Untamed Heart!). And he’s good in this but the true star is actually Patricia Arquette. I’ve really liked Arquette ever since A Nightmare On Elm Street 3: Dream Warriors but have missed out on a lot of her movies (I recently did a top ten list of her movies HERE in which I kind of had to cheat to make it up to ten). I’ve never understood why she wasn’t in more movies so am glad she got recognized with an Oscar for her role in Boyhood. True Romance is surely her most defining role, though.

As with any Tarantino-related film, the cast they got together for this is super impressive. Dennis Hopper, Gary Oldman, Christopher Walken, Brad Pitt, Val Kilmer, and…. Balki from Perfect Strangers?!? Okay, Bronson Pinchot felt out of place (plus it’s a fairly big role compared to some other big names!). Shall we have a look at those with much smaller roles? Hmm. Chris Penn, Tom Sizemore, Samuel L Jackson, Michael Rapaport, Saul Rubinek, James Gandolfini… so many well known names & faces in this! Although some weren’t as huge when this came out, I suppose. Such as Brad Pitt, who is adorable as a total stoner.

The two who really stand out in smaller roles, however, are Dennis Hopper (as Slater’s dad) & especially Gary Oldman (as Arquette’s evil pimp). I really miss Hopper – I always found him entertaining. He was loads of fun being a crazy bastard most of the time in things like Blue Velvet & Speed but I liked seeing him in a more straightforward role here & in a memorable scene with Walken.

I also like Gary Oldman (doesn’t everybody?) but, at the same time, I’ve never really noticed him all that much. He’s just one of those rare actors who is so different in every single role. For example, I love Jack Nicholson but always feel like I’m watching “Jack Nicholson” when I watch one of his movies. Oldman becomes the characters he plays and his role here, although far smaller than I thought it would be, is easily the most memorable thing about the whole film. I think James Franco clearly watched him in this before doing Spring Breakers. Oldman really deserves more recognition than he gets (but that’s probably because he’s so often unrecognizable!).

I suppose I was a bit tough on this film in my opening paragraph but, as is obvious from what I’ve spent the whole time talking about, the strong characters are what I assume make this film such a fan favorite. And it certainly feels like the films that Tarantino went on to direct himself due to the characters, the conversations, and of course the copious amounts of violence that I had to turn away from (one scene involving Arquette was a bit too intense for me). Shockingly, I found this more violent than the super violent (yet anti-violence) Natural Born Killers.

The thing that works the most, though, (for me at least) was the actual “romance”. I loved Slater & especially loved Arquette and wanted them to live happily ever after. These two had amazing chemistry in this! You just knew their characters had really hot sex. And, hey – they first meet in a movie theater & bond over a similar love of movies: that’s the perfect way to start a romance in this movie blogger’s opinion! Did they date in real life after making this like most stars do when they make films together? I have no idea but they should have. Hey – are they both single nowadays? I think they should hook up! Arquette totally should’ve married Slater instead of Nicolas Cage. Although I can’t blame her for marrying Thomas Jane. He’s a hottie.

Summary:

Well, I’ve said all I really need to say about this. True Romance is a really fun film thanks to Tarantino’s way of writing great characters & their interactions with one another but I was still a little disappointed that the story itself was weak. I also thought the scenes involving Elvis talking to Slater’s character didn’t really work & felt out of place. But I’d most definitely recommend this if you’re a fan of either Tarantino or Tony Scott or of the many big name stars in this movie. Like most of Scott’s films, this has a little bit of the gung-ho American action movie thing going on but it still mostly feels like a Tarantino movie (and it sure as hell is a lot more violent than Scott’s other work). I’m glad I finally watched this and the main things I’ll always remember are the fantastic performances from the likes of Arquette, Oldman and Hopper plus, of course, the romance itself. Slater & Arquette are perfect together.

My Rating: 7/10

Natural Born Killers (1994) Blind Spot Review

Natural Born Killers (1994)

Directed by Oliver Stone

Story by Quentin Tarantino

Starring: Woody Harrelson, Juliette Lewis, Robert Downey Jr, Tommy Lee Jones, Tom Sizemore, Rodney Dangerfield

Plot Synopsis: (via Wikipedia)
A satirical black comedy crime film that tells the story of two victims of traumatic childhoods who became lovers and mass murderers, and are irresponsibly glorified by the mass media.

My Opinion:

Here we are with movie number three of my 2016 Blind Spot picks. I can’t believe I’ve actually managed to review one each month so far! (the previous two were An Education & Summer Wars). Other than The Doors & Platoon, I can’t say I’ve really liked any Oliver Stone films all that much so I went into this one with fairly low expectations. Plus, I’ve never exactly loved either Woody Harrelson or Juliette Lewis. Well, I have to say that I liked this one quite a bit and both those actors have gone up a little in my estimation (22 years later!).

I suppose it helps that Quentin Tarantino wrote the story? He wasn’t involved with the actual screenplay (I read that they changed his story quite a lot) but this movie has the overall vibe of the films he directed – not just in the extreme violence, of course, but also in the rich characters & dialogue.

I think it’s difficult to make a satire on our obsession with violence that then uses excessive violence to get its point across. Does this movie glorify violence just as much as it claims the media does, thanks to shows such as the film’s American Maniacs as hosted by Robert Downey Jr’s character? I read that, at first, this movie was going to be a straight-up action film before Stone decided to turn it into a satirical black comedy. I think changing the direction of the movie was a very wise decision. Actually, this is what I read at Wikipedia – I can see why he changed his mind:

“As the project developed however, incidents such as the O.J. Simpson case, the Menendez brothers case, the Tonya Harding/Nancy Kerrigan incident, the Rodney King incident, and the Federal assault of the Branch Davidian sect all took place. Stone came to feel that the media was heavily involved in the outcome of all of these cases, and that the media had become an all-pervasive entity which marketed violence and suffering for the good of ratings. As such, he changed the tone of the movie from one of simple action to a satirical critique of the media in general.”

I think the movie very much gets its point across and is even more relevant today as violence seems to be at an all-time high but, also, scenes of graphic violence are even more immediately accessible now than in 1994 thanks to the explosion of the Internet. It’s not some true-crime TV show (hosted by Downey Jr with, I gotta say, a really annoying fake Australian accent) that we have to worry about these days. Hell, American Maniacs looks like a Saturday morning kids’ cartoon compared to today’s video games & torture porn films never mind the disturbing clips of real-life violence which are far too readily available online thanks to everyone having their own damn video cameras in their phones. (Off Topic Rant: Man, I love my phone but wish I could time travel back to 1985 when peoples’ private lives weren’t being constantly recorded & uploaded for all to see. Kardashian-free 1980’s life sounds like a damn utopia now! Rant Over). So, Natural Born Killers is more relevant today but also wouldn’t actually work if made now as it’s no longer satire. Watching it now was quite scary, in a way, as I imagine it felt far-fetched in 1994? Now it just feels like one of those Making A Murderer type of true story documentaries that are so popular on Netflix.

I’m actually a huge wuss when it comes to violence in movies (I watch Tarantino’s with my hands over my face half the time) but am more accepting when the movie has a message like I feel this one does. There’s lots of blood in this but I was able to watch it all as it’s not as “gory” as Tarantino-directed films (which do glorify violence but are so cleverly written that I can’t help but love them anyway as a fan of film). Will someone go on a murder spree after watching this? Maybe. But someone who does that would’ve done that anyway whether or not they’d watched a violent movie or played a violent video game.

Oh crap – I really didn’t want to get into a deep discussion about the film’s message and about whether the media has a responsibility to humanity to not glorify violence and blah blah blah. That’s one of those arguments that can go around in circles for an eternity. All I’ll say is: Society is fucked. The media – including movies, TV, video games, websites – is just a reflection of society. It gives us what we seem to want based on our behavior. I think Natural Born Killers displays that logic perfectly but it’s a shame that its message, although extremely blatant, seemed to not be fully grasped by everyone at the time.

I think what worked for me with this movie besides the film’s message was its style. I loved the psychedelic scenes and Stone’s use of different colors. I thought the I Love Lucy sitcom-style scenes involving Rodney Dangerfield as the abusive father of Juliette Lewis were very inventive and the scene in the rattlesnake-filled desert was trippy. Hell, I even found the “marriage on the bridge” scene oddly romantic in a messed-up way. That’s the thing – I think most people watching this movie find themselves liking Lewis’ & Harrelson’s Mickey & Mallory despite the fact that they’re psychotic killers with no remorse. But that’s the whole point, of course. The media in the movie makes them stars and the movie itself has made their fictional characters stars. By the end, you want Mickey & Mallory to live happily ever after and THAT is truly fucked-up. That’s how good the movie is, though – it turns us into the Mickey & Mallory-worshipping audience of American Maniacs.

My Rating: 8/10

Reservoir Dogs (1992) IMDB Top 250 Guest Review

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Today’s IMDB Top 250 Guest Review comes from Rob of MovieRob. He also reviewed Saving Private Ryan and The Manchurian Candidate and Pulp Fiction and Strangers On A Train. Thanks for all the reviews, Rob! 🙂 Now let’s see what he has to say about Reservoir Dogs, IMDB rank 70 out of 250…

There are still some movies up for grabs if anyone wants to do a guest IMDB Top 250 review. You can find the list of remaining films here. See the full list & links to all the reviews that have already been done HERE.

Also, if you’d like to add a link to your IMDB review(s) on your own blogs, feel free to use any of the logos I’ve used at the top of any of these guest reviews.

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Reservoir Dogs (1992) is the movie that made me fall in love with Quentin Tarantino’s film making style.

Most people didn’t hear about him until he made Pulp Fiction, but I somehow came across this movie when it was released on video in 1993.

Because it’s a low budget movie, Tarantino decided to save money on filming the actual heist portrayed in the movie, but rather used other moviemaking techniques to make us believe that we saw what happened during the heist despite having the movie begin during the aftermath.

The way he did this was to create a perfect mix of conversational dialogue and storytelling by the characters that we get such a complete picture in our minds of the event that creates the movie’s story without seeing one shot (from a camera or bullet) within the store.

On his script alone, Tarantino was able to gather such a talented cast who all agree to low salaries to be a part of this near-masterpiece.

Harvey Keitel, Tim Roth, Steve Buscemi, Chris Penn, Michael Madsen and Tarantino himself are all perfect in their roles and we get drawn in more and more as the movie moves along.
Being a fan of obscure movies let Tarantino “borrow” different elements from so many movies in order to create this film.

Among them, there are definitely blatant references to The Taking of Pelham One, Two, Three (1974) and The Killing (1956)

This movie also has changed the way anyone will ever think of the song Stuck in the Middle With You

For a debut film, it quite amazing how great a movie Tarantino was able to construct.

Most people still think that Pulp Fiction is his best film, but this movie on a small budget is done so perfectly in a simple fashion that in my eyes, even the great Pulp Fiction can’t hold a candle to this excellent heist movie.

10/10

Pulp Fiction (1994) IMDB Top 250 Guest Review

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Today’s IMDB Top 250 Guest Review comes from Rob of MovieRob. He also reviewed Saving Private Ryan HERE and The Manchurian Candidate HERE. Thanks for the reviews, Rob! 🙂 Now let’s see what he has to say about Pulp Fiction, IMDB rank 4 out of 250…

There are still some movies up for grabs if anyone wants to do a guest IMDB Top 250 review. You can find the list of remaining films HERE. See the full list & links to all the reviews that have already been done HERE.

Also, I’ve never thought to mention it but if you’d like to add a link to your IMDB Review(s) on your own blogs, feel free to use any of the logos I’ve used at the top of any of these guest reviews. I know I’ve made a few that are specific to the movie being reviewed. I’ll also do an IMDB update post soon & will post some more logos.

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Quentin Tarantino showed the world was he was made of with his debut film Reservoir Dogs and that movie’s success led to this masterpiece getting proper funding.

His use of non-traditional methods of storytelling works extremely well here as he tells three interweaving stories in a very unconventional non-linear fashion.

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The fact that he was capable of securing so many great actors for this movie is a testament to how amazing his story and script are.

Samuel L. Jackson, John Travolta, Harvey Keitel, Bruce Willis, Ving Rhames, Uma Thurman, Tim Roth, Eric Stoltz and Rosanna Arquette are all excellent.

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I love how QT has always been able to take characters in non-conventional roles and write perfect conversation dialogue totally unrelated to their current situations making the characters seem more real than we thought possible.

The idea of having two hitmen discuss fast food in Europe while on their way to ‘work’ is brilliant.

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Truth is in many ways, QT’s written dialogue is what holds his stories together.

In the twenty years since this movie came out, I have found its dialogue to be so easily quotable.

Here’s a list of some great lines from this movie. In order to try and keep this spoiler free, I will omit what characters say each line.

  • Hamburgers. The cornerstone of any nutritious breakfast.
  • I don’t need you to tell me how ****ing good my coffee is, okay? I’m the one who buys it. I know how good it is. When Bonnie goes shopping she buys ****. Me, I buy the gourmet expensive stuff because when I drink it I want to taste it. But you know what’s on my mind right now? It AIN’T the coffee in my kitchen, it’s the dead nigger in my garage.
  • That’s thirty minutes away. I’ll be there in ten.
  • It breaks down like this: it’s legal to buy it, it’s legal to own it, and, if you’re the proprietor of a hash bar, it’s legal to sell it. It’s legal to carry it, but that doesn’t really matter ’cause – get a load of this – if you get stopped by the cops in Amsterdam, it’s illegal for them to search you. I mean, that’s a right the cops in Amsterdam don’t have.
  • The way your dad looked at it, this watch was your birthright. He’d be damned if any slopes gonna put their greasy yellow hands on his boy’s birthright, so he hid it, in the one place he knew he could hide something: his ass. Five long years, he wore this watch up his ass. Then when he died of dysentery, he gave me the watch. I hid this uncomfortable piece of metal up my ass for two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you.
  • Bring out the Gimp.
  • Nobody’s gonna hurt anybody. We’re gonna be like three little Fonzies here. And what’s Fonzie like? Come on Yolanda what’s Fonzie like?
  • That’s when you know you’ve found somebody special. When you can just shut the **** up for a minute and comfortably enjoy the silence.
  • Are you calling me on the cellular phone? I don’t know you. Who is this? Don’t come here, I’m hanging up the phone! Prank caller, prank caller!
  • Uuummmm, this is a tasty burger
  • Mind if I have some of your tasty beverage to wash this down with?
  • What now? Let me tell you what now. I’ma call a coupla hard, pipe-hittin’ niggers, who’ll go to work on the homes here with a pair of pliers and a blow torch. You hear me talkin’, hillbilly boy? I ain’t through with you by a damn sight. I’ma get medieval on your ass.

2010

1994 was a very strong Oscar year and although this movie got 7 nominations including Best Picture, it only was able to win 1 award (Best Screenplay).

It’s hard to say if this is a better overall movie than Forrest Gump or Shawshank but it is clear that this movie has grown in appreciation over the last two decades.

This movie is currently #5 (but #4 when Mutant first started her list)  on the IMDB Top 250 and is definitely worthy of such a lofty position.

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Inglourious Basterds (2009) IMDB Top 250 Guest Review

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Today’s IMDB Top 250 Guest Review comes from Josh of JJames Reviews. He’s already done a review of Apocalypse Now (which you can read HERE). Thanks so much for joining in, Josh! Now let’s see what he has to say about Inglourious Basterds, IMDB rank 113 out of 250…

There are still some movies up for grabs if anyone wants to do a guest IMDB Top 250 review. You can find the list HERE. See the full list & links to all the films that have been reviewed HERE.

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Inglorious Basterds (2009)

Written and Directed By: Quentin Tarantino

Starring
Brad Pitt
Christoph Waltz
Melanie Laurent
Eli Roth
Michael Fassbender
Diane Kruger
Daniel Bruhl
Til Schweiger
Gedeon Burkhard
Jacky Ido
BJ Novak
Sylvester Groth
Martin Wuttke

Running Time: 2 hours 33 minutes

Plot Synopsis

In an alternate history mash up, two different groups of assassins plot the murders of important Nazi leaders, including Adolf Hitler (Martin Wuttke) and Joseph Goebbels (Sylvester Groth). Meanwhile, Hitler, Goebbels and Nazi detective, Col. Hans Landa (Christoph Waltz) hunt The Basterds, a group of special forces assassins led by Lt. Aldo Raine (Brad Pitt).

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My Take

Inglorious Basterds bears Quentin Tarantino’s trademarks, mostly in good ways. Using at least three storylines and an episodic chapter structure, it is always fun and suspenseful. Soshanna Dreyfuss (Melanie Laurent), Hans Landa (Christoph Waltz) and Aldo Raine (Brad Pitt) take turns as the film’s protagonist, and each proves capable of carrying the movie, in no small part because all three of the actors are spectacular. Waltz won an Oscar for Inglorious Basterds, and it is easy to understand why, but his is not the only award-worthy performance. This might be Pitt’s best acting since 12 Monkeys (1995) and Laurent shines, as well, especially when she’s opposite Waltz or Daniel Bruhl (Frederick Zoller).

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Even still, the performances are not Inglorious Basterds’ greatest strength. Editing is. Tarantino and Oscar-nominated editor Sally Menke piece together the separate storylines sparklingly well, cutting away from each at exactly the right moments. Even more impressively, they time many takes and shots a heartbeat or two longer than we subconsciously expect, a decision that creates tension and heightens our anxiety. Consider the movie’s opening scene, when Landa arrives at Pierre LaPadite’s (Denis Menochet) home in search of hidden Jews. When the former first meets the latter’s daughters, he politely compliments their beauty, at which point Menke and Tarantino use a wide-angle shot from behind the young women, one that frames Landa’s face with the female’s bodies, thereby ensuring we see the intimidating glare the Colonel gives them. At that point, we expect Menke and Tarantino to cut away from the shot, probably to a close up of Landa, or perhaps LaPadite, but they don’t. Instead, they hold it an extra moment, just long enough to make us feel Landa’s threat. Later in the same scene, the Nazi is centered in the frame as he drinks a glass of milk. While he’s drinking it, we expect the director and editor to show us a reaction shot of LaPadite or one of his daughters. They don’t. Instead, they hold the shot of Landa until the milk is gone, a decision that once again increases our anxiety. Why? Because now we know that Landa can and will do anything he wants, that the LaPadite family is powerless to stop him, and that soon all of them might be dead.

Such brilliant editing continues throughout the movie. Menke lost the Oscar to The Hurt Locker, but she unquestionably deserved her nomination and would have been a fitting victor.

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Tarantino makes other standout directorial decisions. Inglorious Basterds is visually striking, and the sound design is very good. So too are all of the director’s casting decisions. Daniel Bruhl is excellent as the flirtatious but frightening Frederick Zoller, and Michael Fassbender is scene-stealingly good as British soldier Lt. Archie Hicox. Diane Kruger (Bridgit von Hammersmark), Jacky Ido (Marcel) and Sylvester Groth (Joseph Goebbels) all give memorable supporting performances, as well.

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With excellent acting, near impeccable direction and some standout technical elements, Inglorius Basterds has potential for perfection. Unfortunately, Tarantino’s screenplay is uneven. Yes his dialogue is witty and sometimes funny, as it is in everything he writes, but the way he tells this story fundamentally prevents emotional attachment to the characters, something that is all the more disappointing given each of the protagonists’ potential to be memorable. Shoshana is a tragic anti-hero if ever there was one. Raine could be, too. And Landa could be a complex opportunist, whom we never completely understand and therefore whose actions we cannot predict.

But instead, Tarantino chooses to gloss over his three lead characters, assigning each of them one or two traits, and never further developing them. Then, he introduces a bevy of minor characters, some of them historical figures and others not. He gives these secondary players as many traits as the leads, which guarantees that no one is well developed. That, in turn, means we do not care about any of the characters.

And so we do not extrapolate important life lessons from their experiences.

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Conclusion: Inglorious Basterds, then, is a prime example of style over substance. It is entertaining and darkly comedic, just as it is incredibly well made. But, thanks to underdeveloped characters, it is not thematically resonant. Though we can enjoy it, we are not inspired by it.

My Rating: 7.5/10

Kill Bill: Vol 1 (2003) IMDB Top 250 Guest Review

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For today’s IMDB Top 250 guest review, we have the wonderful Abbi of Where The Wild Things Are. Abbi has a fabulous site filled with everything from movie reviews to fashion to top ten lists to health & fitness to cooking. Cooking! I always feel totally inferior whenever I look at her site because the closest I come to cooking is popping crumpets in the toaster and the closest I come to exercising is walking to the nearest bus stop. And her outfits are great! I have no style. And she’s funny & her Film Friday movie reviews always crack me up. Basically, she’s cooler than me in every way so you really need to check out her site if you haven’t already. 🙂

There are still some movies up for grabs if anyone wants to do a guest IMDB Top 250 review. You can find the list HERE.

Now over to Abbi for her thoughts on the kick-ass Quentin Tarantino film Kill Bill: Vol 1, IMDB rank 152 out of 250

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Kill Bill vol 1

In this first instalment Quentin Tarantino’s Kill Bill films a young, pregnant bride (Uma Thurman) is viciously attacked on her wedding day by her former associates and left for dead. Five years later she wakes suddenly from a coma and embarks on an unstoppable revenge mission intent not only to avenge the five years she has lost but also the life of her unborn child. Her plan is to pick off the former members of the Viper Squad, O-Ren Ishii (Lucy Liu), Vernita Green (Vivica A. Fox), Elle Driver (Daryl Hannah) and Budd (Michael Madsen), finishing eventually with Bill (David Carradine).
And really that is pretty much the sum of the entire plot of Kill Bill, so what is it that makes sounds like a pretty run of the mill revenge movie that exciting?
First has got to be the casting of The Bride (who happens to be one of my favourite movie characters of all time). Uma Thurman is able not only to carry off her unmeasured fury but also the vulnerability caused by her confused and damaged emotional state. As a former assassin The Bride is a vicious and ruthless killer, and obviously a total badass, but she also feels pain, loss and fear, which makes her someone that it’s easy to identify and even sympathise with.
Second is the fact that Tarantino is not afraid to borrow from every and any genre he likes the look of all in one glorious hotch potch. From Western, to traditional Kung-Fu, to anime to multiple other things that I probably didn’t even register, he throws everything in everything but the kitchen sink. It shouldn’t work, and in the hands of a less skilled director it probably wouldn’t but somehow the genre switches work as a way of creating episodes within this already truncated part of a whole, which means the story at hand never gets tired. It also highlights the constant juxtapositions that crop up throughout the film. One of The Bride’s most noteworthy opponents is Gogo (Chiaki Kuriyama) a seventeen year old Japanese schoolgirl, who giggles behind her hand but is also lethal with a mace. And one of the most violent kills happens in a beautiful Japanese garden where the colour of the blood spilled is that much more vibrant spilled across the snow.
Third is the cinematography. Kill Bill vol 1 is a riot of colour interspersed with black and white that changes the perspective and emotions from one scene to the next and often within scenes. In so doing Tarantino creates intense and memorable visual portraits, the most iconic being The Bride in her yellow jumpsuit. This is mixed with creative, razor sharp fight choreography and oceans and oceans of cartoonish blood that remind us that this story is set in a hyper reality that we can only enter as bystanders.
Finally both the soundtrack and the use of sound in Kill Bill vol 1 are used mindfully to accompany and intensify the visual attack taking place onscreen, with the soundtrack always matching the genre that is currently at play.
The overall effect is that the viewer is left desperate for more after the cliff hanger ending.
5/5

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Competition for the Primark Christmas sale had become particularly fierce.

Django Unchained (2012) Review

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Django Unchained

Directed by Quentin Tarantino

Starring:
Jamie Foxx
Christoph Waltz
Leonardo DiCaprio
Kerry Washington
Samuel L. Jackson
Walton Goggins
Dennis Christopher
James Remar
Michael Parks
Don Johnson

Running time: 165 minutes

Plot Synopsis: (via Wikipedia)

Set in the antebellum era of the Deep South and Old West, the film follows a freed slave (Foxx) who treks across the United States with a bounty hunter (Waltz) on a mission to rescue his wife (Washington) from a cruel plantation owner (DiCaprio).

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My Opinion:

Django Unchained got second place after Stoker when I asked all of you which film I should review next. Sorry it’s still taking me a bit of time to get around to these reviews.

I should maybe re-watch this one as I saw it in the cinema back in January but I remember it well anyway. I still consider it my favorite film of 2013 (UK release date). But it’s one of the only 2013 movies that I didn’t review. I have a strange relationship with Tarantino films – I think they’re brilliant but I also can’t fully watch any of them as I’m a mega wuss about violence. Figure that one out… Plus so many people love Tarantino and there will be tons of great reviews online from people who are proper writers and I don’t know what I could really add to all that. So, as usual, I’ll just discuss what I personally liked about the film.

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I’ll get right to it and say that there’s ONE very specific thing that made me really go for this movie even though I literally “saw” less of this than probably any other Tarantino film as I found the violence in this one the most disturbing yet & didn’t even look at the screen for a couple entire scenes (the “Mandingo” fight for one – the sound effects alone were enough to make me feel ill). I think everyone knows what I’m going to say that one specific thing is as I think most people agree:

CHRISTOPH WALTZ

He’s brilliant. Absolutely brilliant. I have to say I’m not one to worship actors – I just like movies. I do have some favorite actors, of course, and a few actors who will make me actually watch a film they’re in (or, more often, avoid one). But I just enjoy watching movies I think are good and for the most part don’t care who’s in them as long as the actors fit the part and they’re not really horrible at acting and they’re not Tom Cruise.

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But… Oh my god I love Waltz in Tarantino films! I know that not ALL the credit can go to Waltz, though – As many people have already said, there’s just something about a Tarantino script combined with Waltz’s acting that’s just the perfect fit. I really need to watch Inglourious Basterds again – the scene with Waltz at the beginning was so intense (I barely watched that scene. Sorry – I just couldn’t! My heart was pounding like crazy).

I love the character of Dr King Schultz in Django Unchained. He’ll go down as one of the all-time best characters with one of the all-time greatest performances (in my opinion but, hey, he did win an Oscar for it). This is why poor Jamie Foxx seems so overlooked in the title role – He was fine but he just didn’t quite have that special “something” that Waltz has so his performance naturally pales in comparison.

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Before I go on kissing Waltz’s ass too much, there was one other performance that I also felt was worthy of at least an Oscar nomination: Leonardo DiCaprio. Why does he keep getting overlooked? Is it because he’s a former “heartthrob”? I’m not exactly a Leo fan but I think he’s had some amazing performances in a variety of films and Django Unchained is one of them.

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As for the film itself, I liked the overall story. I like revenge (Kill Bill being my favorite Tarantino film) and I like some good old-fashioned “rescue the helpless woman” sometimes as it’s set in the old West (or old South). I found the “Blazing Saddles” type of comic relief scene with the masks funny, all the stuff at Candyland was great, Don Johnson was actually not bad and, as already mentioned, DiCaprio and especially Waltz were brilliant and a joy to watch whenever they were on screen (which was quite a lot, luckily).

Tarantino’s role was a bit embarrassing, the violence was too much for me, and I’m not 100% sure if it’s okay to like Samuel L Jackson’s character or not. I love the guy (I’ve had it with these motherfucking snakes on this motherfucking plane!) but that role was probably getting into iffy territory and I’m so not going there – there’s already been enough talk of the excessive use of the N word in this so I’ll leave that to intelligent people to dissect. I also felt that Django Unchained lost its way a bit in the last 45 minutes or so – it started to feel a little overlong and seemed to not be completely sure how to end although I found it a satisfying enough conclusion.

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Summary:

Django Unchained is another great film from Tarantino with a brilliant script and excessive violence than can be a little hard to watch. But I suffer through the violence as I think Tarantino is one of today’s most talented filmmakers. I’ve never watched classic Westerns but did force myself to watch the excellent Once Upon A Time In The West for the first time a couple months ago and it’s made me appreciate Django Unchained even more and made me want to further explore the influences on the film. Django Unchained isn’t a perfect film and does lose its way toward the end but with such a mesmerizing performance from Christoph Waltz, who cares? The man is amazing.

My Rating: 8.5/10

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See where Django Unchained ranks in My Top Five Films Directed By Quentin Tarantino.

My Shitty Django Unchained Haiku:

To rescue his love
Django and Schultz hunt bounty
The D is silent

My Top Movies Directed By Quentin Tarantino

**I’m updating this list on March 24th 2017 as I’ve now seen Jackie Brown & The Hateful Eight. Here we go! Counting down to my favorite (and not including his guest director credit on Sin City, a movie I don’t really like anyway), here are all the films I’ve seen that were directed by Quentin Tarantino:

8. The Hateful Eight (I wasn’t really a fan of this one)

7. Inglourious Basterds

6. Death Proof
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5. Django Unchained
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4. Jackie Brown

3. Pulp Fiction
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2. Reservoir Dogs
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1. Kill Bill (both of them – I count them as one)
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Inglourious Basterds was SO close to being above Death Proof, which few people will agree with. First of all, I should probably give Basterds a re-watch as I was especially wussy about violence that day and didn’t watch it closely enough except for the parts where Christoph Waltz or the lovely Melanie Laurent were on screen. It’s a much better film than Death Proof. But… Death Proof was fun and I really liked it. Zoe Bell was cool. I’m a girl and I like girls who kick ass (which is why Kill Bill is number one). So there you go!

AND I have an embarrassing confession to make: I’m a big film fan yet there’s one Tarantino-directed film that I haven’t seen. So I’ll update this list if I decide that Jackie Brown deserves a place in the Top Five. (Update – I’ve seen it now!) 😉

Now off to finally write my review for Django Unchained (Review done now!). I’ll leave you with a shitty haiku summing up how I feel about Tarantino’s crazily violent films:

Tarantino films
Are really brilliant but I
Wish I could watch them

**I need to point out that the hubby and I are having an argument over how many syllables are in the word “brilliant”. I think this is a US/UK difference. The way I say it, it’s two, dammit! Making my haiku correct… 😛

Movie Haiku

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To rescue his love
Django and Schultz hunt bounty
The D is silent

Django Unchained (2012)

A while ago I posted a Bill & Ted’s Excellent Adventure haiku and invited others to join in. Only got a couple of replies but figured I’d try again as I have so many movie haikus stored up (it’s an easy thing to do when you’re bored and can’t sleep). 😉 So if anyone would like to join in & add their own Django Unchained haiku that would be cool. Might try to make this a regular feature once a week (or maybe once a month – I’m not good with commitment!).