Django Unchained is where he became his own yes man, and by the looks of The Hateful Eight, he hasn’t yet remedied the issue. After the thrilling convolutions - narrative and moral - of Pulp Fiction, Jackie Brown, Reservoir Dogs, and even parts of Kill Bill, Tarantino has stopped challenging himself - or at least challenging himself in any way that matters to his growth as an artist. But for all its pleasures, I think it’s too easy, too dead-center in Tarantino’s comfort zone. This is Tarantino’s most financially successful movie, and a lot of people love its rituals of retribution. And however much I like violent movies, that’s not a good thing. Carnage rarely comes so morally uncomplicated. But the helpless rage we feel in those scenes is in the service of Tarantino’s larger goal: to make the vengeance on the film’s racists all the more gleeful. The only violence that’s not a kick is done unto slaves, who are whipped, torn to pieces by dogs, and, in a particularly ugly moment, driven to slaughter one another for sport. Every bullet generates a whoopee cushion’s worth of red sauce. What Nazis were in Inglourious Basterds, slaveholders are here: people who are a gas to exterminate. Up until the release of this Western starring Jamie Foxx as a gunslinging ex-slave and (a wonderfully puckish) Christoph Waltz as his bounty-hunting German escort, I had loved, in one way or another, all the films that Tarantino had directed. #Quarantino movies movieIt’s not laziness the feelings that come to you in the first flush of pleasure after seeing a Tarantino movie are difficult to recollect in tranquility. Note: I’ve mined some of my past reviews (the ones I still agree with, anyway) for descriptions. For better, and occasionally for worse, Tarantino really digs Tarantino. Few directors give you the sense that they’re getting off so much on their own work. ĭense with allusions to other work but more fun than a barrel of monkeys (studded with nails and rolled down a hill, à la Herschell Gordon Lewis’s 2000 Maniacs), Quentin Tarantino’s movies cry out to be viewed both singly and in relation to one another - as the journey of a boy who once lived through grindhouse movies and is now permitted to dramatize (and cinematize) his fantasies on an epic scale. We’ve updated it to include the auteur’s latest, Once Upon a Time in Hollywood. This article originally published in 2015 as part of Vulture’s Tarantino Week. However, other Tarantino films wouldn't have been made if they did.Photo: Maya Robinson and Kelly Chiello and Photo by Miramax It's a shame that so many interesting ideas didn't get used. Pulp Fiction could have had several movies spawn from its story, like the adventures of Jules Winnfield after he quits the life or what happened to Bruce Willis' Butch after he resolved things with Marsellus. Of course, the idea fell to the wayside as time went on, the actors grew older and Tarantino focused on newer ideas. In Pulp Fiction, Vincent is returning to Los Angeles from a prolonged period overseas, so The Vega Brothers would detail what the two were up to in Amsterdam. Vincent and Vic being brothers has always been a cool detail that provides some connective tissue between Tarantino movies, but a prequel about both brothers was actually almost made.Īccording to Michael Madsen, The Vega Brothers would have followed Vic and Vincent running a club in Amsterdam. The Vega Brothers movie was an idea Tarantino had for a prequel to Pulp Fiction, starring John Travolta as Vincent Vega and Michael Madsen reprising his Reservoir Dogs role as Vic Vega, aka Mr.
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