Owen Gleiberman: The one Tarantino movie that never conjures Tarantino’s joy.
Variety’s resident cinephiles, Peter Debruge and Owen Gleiberman, have done just that, ranking his filmography and weighing in on one another’s assessments. 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. But how do they stack up against one another? With nine features to his name (Tarantino counts “Kill Bill Vol. The way his characters talked - and more importantly, the subjects that preoccupied them - gave audiences permission to geek out about movies (and the meaning of Madonna songs), and each new project brought a fresh appreciation of some arcane corner of film culture. 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. A few years later, Spielberg, Lucas and a generation of film-school brats riffed on what had come before. Maybe grab a beer from the fridge while you're at it.In the history of cinema, has any director done more to elevate the idea of movies as cool than Quentin Tarantino? 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.
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Whether you're a Charles Manson-worshipping teenager, a flailing Western star, or a suit-wearing agent, we're all just looking for a buddy to watch TV with. Ever the fanboy, the director relishes the chance to recreate the goofy TV shows, dime store novels, corny commercials, and booze-fueled shoptalk of late '60s Los Angeles, but he also captures the more timeless pleasures of sharing those cultural commodities with the other people in your life. While Margot Robbie's Sharon Tate provides the now-requisite historical heft to the material, the friendship between Leonardo DiCaprio's fictional actor Rick Dalton and Brad Pitt's made-up stuntman Cliff Booth is the core of this dazzling, beguiling epic in miniature, which unfolds over a couple lazy afternoons. Dimension Filmsīoth riotously funny and achingly melancholy, Once Upon a Time in Hollywood is a movie about an industry in a bloated, strained transition period that perhaps signals a shift in style for the filmmaker, a Generation X icon approaching his self-styled creative twilight years.
However, the movie was cast in a new, problematic light in early 2018 when Uma Thurman disclosed how Tarantino essentially coerced her into performing an unsafe stunt and shared footage of the ensuing crash with The New York Times. Its quieter, more reflective sequel, released six months later, was viewed by many as a leisurely paced come-down from the frenzied blood-letting high of the action-packed first half, but showcases some of Tarantino's sharpest writing and most lived-in characters. The first installment of the feminist revenge epic, released in 2003, provided the most brazen example of the hyper-stylized acts of violence that have become Tarantino’s signature, with Uma Thurman's vengeful Bride twirling like a rhythmic gymnast, spinning ribbons of blood as she slices and dices her enemies. Kill Bill, originally intended for release as a single movie, possesses some of the filmmaker's most iconic set pieces and visual tableaus, from the Bride rocking Bruce Lee's Round 5 jumpsuit to the animated O-Ren Ishii (Lucy Liu) backstory sequence.
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