EVERY QUENTIN TARANTINO MOVIE, RANKED
Dense with allusions to other work but more fun than a barrel of monkeys, 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. http://vult.re/1VeSKvR
- •Pulp FictionThis movie changed people's ideas about American independent cinema.
- •Jackie BrownThis is Tarantino's stoner movie, the one that makes you laugh at how long and convoluted the whole thing is -- until the violence comes and the trip goes bad.
- •Kill Bill: Vol. 2Vol. 2 is a slow, deliberate Western with a purposefully incongruous dash of washed-out, zoom-lensy '70s Hong Kong Shaw Brothers.
- •Kill Bill Vol. 1Kill Bill is like a revenger's-tragedy hall of mirrors: The heroine of one vigilante saga becomes the villain of the next.
- •Reservoir DogsIt’s essentially a chamber drama with a small, all-male cast that’s set (largely) in one place. But you know from the way the men in black suits with skinny black ties seize the space in the first scene — and then, in a diner, argue for many minutes over the ethics of tipping — that Tarantino is announcing himself as a different kind of pulp director.
- •Inglourious BasterdsAn epic mess, but loaded with amazing setpieces and taken over by Tarantino’s most charismatically murderous villain, Christoph Waltz as Nazi Colonel Hans Landa. Inglourious Basterds is a revenge movie in which the movie itself is the best revenge.
- •Death ProofThis relatively short thriller in the double-bill jamboree Grindhouse (expanded to no particular end into a full-length feature) might be the purest distillation of Tarantino’s ambivalence about violence towards women. He’s a predatory humanist. It’s a deeply dark, sadistic, and fetishistic movie — and one that doesn’t make a lot of sense in the context of a salute to grindhouses.
- •Django UnchainedThis is Tarantino’s most financially successful movie, and a lot of people love its rituals of injury and retribution. But for all its pleasures, we think it’s too easy, too dead-center in Tarantino’s comfort zone. 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.