Tag Archives: Quentin Tarantino

2010s, Coming Soon, Lists, Trailers

Most Anticipated Releases – July 2019

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Happy Birthday, America! Summer is in full swing and there is a whole slew of great looking films coming to theaters. With so many things going on during the summer I want to make sure you have a guide for the best movies headed your way. Granted, not all of these will match every person’s taste. Hopefully if one or two aren’t your style the others will fit you well.

Spider-Man: Far From Home – July 2

If you haven’t seen Endgame then don’t watch this. For that matter, don’t read this article. Just go buy a ticket a watch it. Help it beat Avatar and The Force Awakens.

Well, Thanos and his armies are finished and the remaining Avengers are moving on with their lives after the traumatic events of Endgame. It will be interesting to see where Marvel plans to go from here. They have our attention and all of our money so now they can really shoot for the fences and give us all the superhero movies we never even knew we wanted.

I haven’t found anyone who doesn’t like Tom Holland’s Spider-Man. He brought the wit and frenetic energy to the web-slinger that we’ve been missing for quite a while. This really feels like a new beginning for the entire MCU, because from the trailer we now know that it does come after the events of Endgame. However, Kevin Feige back in April before Endgame was released said that this would be the final movie of phase three instead of beginning phase four. Part of me thinks that was just a dodge to keep from giving away details from Endgame including the fact that Spider-Man and all of his snapped buddies come back to kick butt.

Regardless of whether it is an end or a beginning, I’m excited to see what antics this friendly neighborhood Spider-Man gets into when he and his school friends leave the five boroughs and head to Europe for a summer vacation. We know that Mysterio (Jake Gyllenhaal) will be making an entrance and at least according to Nick Fury he’s a good guy from an alternate dimension. I hope that’s true because he’s never been a good guy in this dimension before. Spider-Man: Far From Home swings into theaters on July 2nd.

Midsommar – July 3

We’ve always been taught to be afraid of the dark. What happens when the really scary things happen in the daylight?

Right on the heels of a fun superhero movie comes the creepiest looking movie of the year. Ari Aster made Hereditary last year and he was immediately recognized as a fresh new voice in the horror/thriller genre. Midsommar is his much-anticipated follow-up film and the trailers make it look like a suspenseful slow-burning horror film that leaves all the lights on instead of being all dark and creepy with shadows and jumpscares.

It looks like a combination of The Wicker Man (the original one from 1970s, not that horrible remake with Nicholas Cage.) with its strange pagan rituals and The Stepford Wives (the original one from the 1970s, not that horrible remake with Nicole Kidman.) with the idyllic surroundings and cheerful almost too happy people. It just makes you know that there is something darker lingering under the surface. If you haven’t seen either of those or Hereditary, I would recommend seeing them if this looks interesting to you. Midsommar will be in select theaters in time for the July 4th holiday.

The Art of Self Defense – July 12

Could this be the Lex Luthor origin story? After learning karate he unlocks his hidden passion to take down the ubermensch.

A dark comedy set in the world of karate. The film centers on Casey (Jesse Eisenberg), who is attacked at random on the street and enlists in a local dojo led by a charismatic and mysterious Sensei (Alessandro Nivola), in an effort to learn how to defend himself. What he uncovers is a sinister world of fraternity, violence and hypermasculinity and a woman (Imogen Poots) fighting for her place in it. Casey undertakes a journey, both frightening and darkly funny, that will place him squarely in the sights of his enigmatic new mentor.

Let’s face it, Jesse Eisenberg is a wimp. At least that is the persona that he has chosen with his film career. Well, this film looks like it is playing right into that sniveling weakling persona and it could be the most Jesse Eisenbergian character that Jesse Eisenberg has ever played. Feeling inadequate, he is going to try and learn how to be a man and things are going to go wrong. If you couldn’t tell, this is a dark comedy and probably has a lot to say about the kind of stereotypical machismo that we all understand. The Art of Self-Defense will fight its way into theaters on July 12th.

The Lion King – July 19

Does it count as live action if all the characters are CGI?

Everyone knows the story of the lion prince who would be king who is betrayed by his evil uncle and leaves the kingdom in the wake of his father’s traumatic death. While he is away he makes friends and tries to forget his past. But his past finds him and he must choose whether he believes in himself enough to take his rightful place as king. Sounds Shakespearean right? That’s because it’s Hamlet with Lions.

As needless as they are, most of the Disney live-action remakes have been good. None have surpassed their originals in my opinion and I think Lion King will be fighting an uphill battle to even get close. It is widely considered to be the pinnacle of Disney Animated Musicals. It doesn’t seem like this one can really miss at the box office. It is a sure success. Parents who loved the original taking their kids to see the movie that they were shown when they were babies. Hopefully, it will update and spin the story in a new way, but even if it doesn’t I think it will make heaps of money and probably get mostly favorable reviews. We’ll find out on July 19th when The Lion King marches into theaters.

Once Upon a Time in Hollywood – July 26

Quentin Tarantino’s 9th film according to the trailer, but 10th if you call Kill Bill two movies. Or maybe he’s not counting Death Proof. Anyway, I count ten.

Tarantino has called this his most personal film. Tarantino moved to a community called Torrance just southwest of L.A. with his mother in 1966 when he was 3 years old. Some of his earliest memories may have included discussion around the dinner table about Hollywood and hippie culture. When the movie was announced, and it was revealed that Sharon Tate would have a role, it was assumed that this would be a movie about the Manson family murders, but Tarantino has denied that saying that while many of the characters overlap, the movie is actually about the loss of innocence in the late 60s.

I’m excited to see what all the fuss is about, besides a cast that includes Brad Pitt, Leonardo DiCaprio, Margot Robbie, Emile Hirsch, Kurt Russell, Timothy Olyphant, Dakota Fanning, Bruce Dern, and Al Pacino. Apparently, it got a six-minute long standing ovation at Cannes. That seems excessive. Have you ever clapped for an extended period of time? It hurts your hands. Tarantino is probably one of the biggest geeks about that culture which included kung-fu movies and spaghetti westerns. I’m sure that much of that respect and admiration comes through. If there is one thing that you can count on Hollywood to love, it’s itself. We’ll see what secrets Tarantino holds in Once Upon a Time in Hollywood on July 26.

Do you have any thoughts on the movies I mentioned? What are you hoping to watch in July? Leave a comment below or find me on social media. I’m always ready to talk about movies.

2010s, Best Movie Bracket, Lists, Review, Top 3, Trailers

2012 – Best Movie Bracket

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It is so hard to distinguish between the best movies of the year and the ones that I like to watch repeatedly. Sometimes they are one and the same. I absolutely loved The Perks of Being a Wallflower, but I have a feeling that my enjoyment of the movie is more about my personal connection than the actual worth of the film.

There are also several very good films that I consider extremely worthy of being considered the best of the year, such as; Lincoln, Life of Pi, The Master, and Silver Linings Playbook. They are honorable mentions, but unfortunately I had to cut it down to three.

Continue reading 2012 – Best Movie Bracket →

1990s, Action, Art-house, Crime, Drama, Great Movies, IMDB 250, Roger Ebert

Pulp Fiction (1994)

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Ebert – Original Review 1994

Ebert – Great Movies Review 2001

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Writer/Director/Actor Quentin Tarantino with the stellar Harvey Keitel as the Wolf.

Continuing on the idea of watching the best movies that you can find on Netflix, I come to Pulp Fiction. Of course, Pulp Fiction is the film that simultaneously shot Quentin Tarantino into elite directorial status and cemented his place as one of the most innovative auteurs of all time.

His screenplay is divided into three stories, each introduced with a title card. First, there’s the story of the hit man who has to take his boss’s wife out for the evening while her husband is away. There’s the story of the aging boxer paid to throw a fight and the quest to retrieve a uniquely special family heirloom. Finally, there’s two hit men in a messy situation that needs a quick solution. These three separate stories are intertwined and not told linearly. Each story could easily stand on its own as a short film, but told as they are, each adds a further dimension to the others. The non-linear progression is not simply a gimmick, but rather an essential aspect of the film’s narrative.  Continue reading Pulp Fiction (1994) →

1990s, Action, Art-house, Crime, Film Noir, Gangster, Heist, IMDB 250

Reservoir Dogs (1992)

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At this point, the story of Quentin Tarantino has become fodder of the dreams of independent and amatuer filmmakers. Just over 20 years ago, Tarantino was working at a video store and all he had were his dreams. Now he is considered to be one of the most creative and visionary storytellers of our generation. His name has been listed along those of Scorsese, Kubrick, and Hitchcock. This is the film that started all of that. Before Pulp Fiction rocketed him to fame, Reservoir Dogs shocked and surprised audiences and critics alike. Empire magazine called it the greatest independent film of all time. It cost 1.2 million to make and doubled that in box office reciepts even though it was shown in less than 100 theaters. Tarantino has cited Stanley Kubrick’s The Killing as one of the major influences for Reservoir Dogs. Sadly, I have not seen this earlier gem. But I see many similarities between Kubrick and Tarantino. Tarantino, the fast-talking former video store clerk remains a major player. In fact, of his seven features, five are listed in the IMDb Top 250:

  • Reservoir Dogs
  • Jackie Brown
  • Kill Bill
  • Inglourious Basterds
  • Django Unchained

So, what can I say about Reservoir Dogs that hasn’t already been said? Not much, but I can say it again. It’s a straightforward heist film that follows the genre’s basic format. A group of talented professionals band together for one big score. The attempt goes awry and the members turn on each other in the aftermath. There’s also a traitor, often an undercover cop, who places the others in jeopardy, willingly or not. In his debut film, Tarantino takes this model and infuses it with his now signature style and breathes life and chaos into the predictable formula.

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First of all, Tarantino injects on the genre is his over-the-top dialogue, which has become more renowned because of Pulp Fiction, Jackie Brown, and his more recent projects. Reservoir Dogs opens with a lengthy conversation about the meaning of Madonna’s “Like a Virgin”, led by Tarantino himself as Mr. Brown. This type of pop-culture discussion from his characters would become a signature part of Tarantino’s movies going forward. Heist films aren’t generally known for their dialogue, so this was quite a dramatic change and widely expanded the audience for this movie. Characters mention Lee Marvin, Marlon Brando, the Thing from the Fantastic Four, The Lost Boys, and other enjoyable references. These guys may be involved in a daring crime, but they’re still people with other interests.

Secondly, Tarantino removes the normal focus of a heist film. The only scene we get of the heist is Mr. Pink (Steve Buscemi) fleeing from police after being ambushed. He recounts his escape to Mr. White (Harvey Keitel) after they gather at a vacant warehouse, which is the primary setting for the movie. By doing this, he deepens the film. The film really begins in the aftermath of the botched heist, and it’s jarring to leap right into the unknown situation. Mr. White is driving a getaway car while his cohort Mr. Orange (Tim Roth) writhes in the back seat and bleeds profusely from a gut shot. Most heist films introduce us to the characters and focus on their preparations for the big robbery. Tarantino does flash back to the time prior to the heist, but he’s not interested in their specific plans. Instead, he’s concerned with briefly setting up these professional thieves and their backgrounds.

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Third, heist movies typically focus on criminals, there usually is a lead character (or a group of characters) that we identify with and want to succeed. A good example is Frank Ocean, who we follow from the start of Oceans 11, and while we meet others, we are tied to Frank and root for him and his team, even though he is a crook. In Reservoir Dogs, it’s not clear who we should root for because Tarantino scrambles the narrative. If the story was told chronologically, we’d likely connect with Tim Roth’s undercover cop, known by the alias Mr. Orange. In this structure, however, we don’t learn his identity and back story until more than an hour into the movie. By that point, we’ve grown to like Harvey Keitel’s Mr. White, especially because of his loyalty to his comrade. Steve Buscemi’s Mr. Pink is also interesting, though he’s a bit too manic and doesn’t tip. After we see the lengthy interlude of Orange’s preparations to infiltrate the gang, we feel sorry for the guy, but he’s not really our hero. Tarantino is taking a real chance by stopping the forward plot so late in the game. Watching Orange rehearse his made-up story is a classic segment, but it only works if we’re invested in the story. Tarantino trusts that we’re interested enough in this world to stick with him until the final shootout.

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A fourth departure is the graphic violence, which keeps us on edge throughout the movie. Unlike gangster films, heist movies usually spend more time on the characters and plans of the heist and don’t include brutal killings. Tarantino actually moves some of the grisliest moments off-screen, but the overall nastiness remains. The prime example is Mr. Blond (Michael Madsen), who’s recently spent time in prison and has returned with a crazy streak. In the movie’s signature scene, he tortures a helpless cop, cuts off his ear, and prepares to burn him with gasoline. There’s no motive for this action beyond inflicting pain in the most vicious way possible. Strutting to the sweet sounds of “Stuck in the Middle with You” by Stealers Wheel, he delivers a frightening, yet cool depiction of a psychopath. This is not your everyday working-class thief.

The ending of the film is classic. It encapsulates the nihilism that we have seen throughout. We see loyalty and trust as well as betrayal and death. So, should everyone watch this film? Certainly not. If coarse language and violence is offensive to you, if you’ve seen other Tarantino films and been disgusted, then this won’t be for you. However, if you are a fan of gangster and heist movies or if you enjoy Tarantino’s style, you will like this first of his efforts. Tarantino injects his own unconventional style into the genre and delivers a powerful, energetic, and original film.

Do you agree with me? Am I way off on this one? Let me know in the comments below or on Twitter or Facebook.