Career Retrospective: Ranking the Films of Quentin Tarantino
Trademarks
Context: Swearing, non PC characters, career revival of forgotten actors, funny violence, long dialogues/monologues, pop culture references, tough female characters, interconnected films, homages (esp. to b-movie genres, non-US films), discussions on superficial stuff, ensemble cast, Mexican stand offs, cameos in his films, antagonists with twisted morality, subversive outcomes, quotes, short violent outbursts, restaurant/bar scenes, tense scenes, non linear stories, chapter format, films start before the title card, dance scenes, revenge motifs, characters have guns, no CGI, opening/closing doors
Music: Ennio Morricone, digenic 60s soundtracks, no original scores,
Visual: Red Apple cigs, Chevrolets/Cadillacs, door frame characters
Direction: Inside trunk shots, steadycam, quick successive cuts, unbroken scenes, bare feet shots
Frequent collaborators: Sally Menke (editor; 7 films), Zoe Bell (7), Samuel L. Jackson (6), David Wasco (production designer; 6), Robert Richardson (cinematographer; 6)
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Perhaps the most important and influential American director since the 90s, boy wonder Quentin Tarantino became the ambassador of independent cinema. With an overabundance of f*** you attitude and a complete disregard for genre rules, Tarantino was born an outsider and remained as such despite his critical and commercial success. Lacking a university degree, artistic delusions of grandeur and a typical camera friendly face, he made his breakthrough among a highly elitist scene based on his skills alone. Having been mentored by thousands of movies, his unique ability to synthesize new sequences by absorbing every single cinematic movement and dogma paid off much to the dismay of the more superior and studio protected directors. His encyclopedic knowledge, affection and genuine enthusiasm for the overlooked genres of action, martial arts and blaxploitation and the Hong Kong and Japanese cinema assigned this unique voice a platform to cultivate his trademark type of storytelling.
His effective blend of genres, sudden bursts of (shocking) violence and excessively quotable dialogue that veers into pop culture was something cinema was not ready in the early (and innocent) 90s. Breaking the ceiling with “Reservoir Dogs” (1992), the heist-flick-without-a-heist raised eyebrows; yet it is the sole and isolating setting of a warehouse, the time split of the proceedings and the infamous ear scene that put him on the map. An uncompromised visionary, this young, passionate director would not allow even the powerful (now disgraced) Harvey Weinstein to intervene in the sacred process of filmmaking. His take-it-or-leave-it vibe and his insistence on solely controlling his scripts paid off though. This once unknown and peculiar looking individual who knew more about motion pictures than anyone else, was now the frontrunner for original concepts which used violence as a way to heighten a character’s actions, never feeling gratuitous or graphic. Combined with sensational soundtracks and excruciating tense scenes that usually involve Mexican stand-offs, Tarantino’s recipe was prone to expand and devour the entire cinematic arena.
When “Pulp Fiction” (1994) was released, he singlehandedly reshaped US movie productions altogether. Hitmen discussing casually foot massages, whether pork tastes good and the occurrence of miracles before or after conducting their illegal business resonated with audience members inspiring in the process an army of a new generation of creators, most notably Guy Ritchie who took matters into his own hands in his British version of such shenanigans in “Lock, Stock and Two Smoking Barrels” (1998) and “Snatch” (2000)). “Pulp Fiction” galvanized its 94’ award season with ease and although it was honored in nominations, it received few accolades due to the existence of the much more conservative and mainstream vehicle that was “Forest Gump”. However, after all these years, it is “Pulp Fiction” people remember fondly as the “life-is-like-a-box-of-chocolates” Tom Hanks starrer has faded into obscurity.
Never one to reside in one genre, this remarkable and unprecedent success and larger than life fame did not affect Tarantino’s ideas for storytelling; instead it allowed him to do whatever he cherished with each of his outputs becoming a cinematic event from now on amidst long intervals. His next project, a book adaptation (considered a very mature effort) of a Elmore Leonard novel, “Jackie Brown” (1997) mainstream audience members the finger by focusing on a middle aged Pam Grier, a crime-involved plot and a romance with an older Robert Forster. Toning down his most famous tendencies like exquisite dialogue and gasp! moments, “Jackie Brown” was certainly not as violent or as cool as his first two movies but rather it demonstrated his remarkable adaptability and a resistance of allowing mega stars to hijack his “products”. Instead of a Jennifer Aniston or a Demi Moore, he showcases a career-defining performance from Pam Grier. Quality over quantity indeed. And who can blame him? By 1997, the international market was full off several imitations (e.g., “Things to Do in Denver when You Are Dead” (1995), “Get Shorty” (1995), “The Usual Suspects” (1995), “Grosse Pointe Blank” (1997), “Suicide Kings“ (1997), “The Big Hit” (1998), “Out of Sight” (1998), “Thursday” (1998), “Go” (1999)).
Thus, after three films offering subversive plot twists, foot fetishes, groovy soundtracks, pop culture enhanced dialogue, steadycam shots, extended moments of suspense, a gazillion movie homages, and authentic characters the time was right for a five year hiatus. Such a long pause emphasized further one of the most important aspects of Tarantino’s work: his selection of actors in specifically written roles for them, designated to either revitalize their career (John Travolta in “Pulp Fiction”, Robert Forster and Pam Grier in “Jackie Brown”, David Carradine in “Kill Bill” (2003-2004), Jennifer Jason Leigh in “The Hateful Eight” (2015)) or to knock some doors down (Michael Madsen in “Reservoir Dogs”, Samuel L. Jackson and Uma Thurman in “Pulp Fiction”, Zoe Bell in “Death Proof” (2007), Christoph Waltz in “Inglourious Basterds” (2009), Walton Goggins in “The Hateful Eight”).
Then the career defining output “Kill Bill” happened which assimilated several b-movie aspects in unbelievable degree to produce a bloody tale of vengeance that made massive cinematic waves in 2003 crashing through the current zeitgeist of action flicks. The Bride was tough and most importantly, human, a new Ellen Ripley who although might be considered woke by today’s idiotic standards of criticism, Tarantino and his legion of fans show their apathy. Beatrix Kiddo, the most lethal cinematic assassin in the history of cinema has a towering frame, a verse sets of skills to dispatch her enemies and adheres in a strict code of honor posing in the iconic Bruce Lee inspired yellow track suit. This brutal story of vengeance is the closest thing to a live action anime adaptation making “The Matrix Reloaded” in the same year looking like a cheap knock off in comparison due to its several CGI amplified shots.
His championing of the female figure though does not stop there. Creating strong female characters who operate under their own agency, Tarantino continued this trend in “Death Proof” (2007) taking the slasher genre and turned it upside down. Featuring one of the best car chases in the history of cinema CGI free with sensational stunts and his best conversations since “Pulp Fiction”, two radically different groups of women go against a stunt car driving serial killer. Accused of being devoid of any substance, “Death Proof” remains another example of Tarantino’s following his own taste as opposed to cater to that one of the audience or the even worse, the critics’.
One could get tired with all this overwhelming amount of elements after a decade plus later. So whether Tarantino had anything else to tell as a storyteller was a pertinent question across cinephile circles. Enter his revisionist phase which started at the late noughties and presenting a more mature take in both the tackled themes and sensibilities: “Inglourious Basterds”, “Django Unchained” (2012) and “Once Upon a Time in Hollywood” (2019). Known already for his capacity to construct unparalleled dialogue, all three films are Tarantino’s indulgent fantasy, a sandbox to play and merge real life events with his vivid imagination throughout a wishful thinking for different outcomes. Higher budgets meant higher production values and none disappoint since the motormouth director’s meticulous (and nostalgic) eye for detail was able to create captivating stories in real landscapes. Although mostly revenge driven - a common theme across Tarantino’s movies, the revisionist era came with its own set of challenges which aim to put audiences in scenes of excruciating suspense - the George Spahn ranch, the intro in WW2 France or the dinner scene in “Django”, Tarantino excels (surprisingly) at presenting delicate subject matters (the Holocaust, American slavery, the Manson murders) and yes, even raising awareness for them. Before “12 Years of Slave” (2013), Tarantino was the one who showcased the brutality of slavery across several gut-wrenching sequences in his “Django Unchained” avoiding melodramatic tropes, staging thrilling shootouts and awesome dialogue by unique individuals who populated the American South.
Excluding his theatre inspired “The Hateful Eight” which feels like a more western oriented “Reservoir Dogs”, Quentin Tarantino apparently has only one movie left in him before he retires. Who knows what it could be? One thing is for sure though. His absence will be deeply felt perhaps more than any other contemporary director. This is a person after who championing the underdog genres, foreign movies (e.g., “Iron Monkey” (1993), “Hero“ (2002)) and actors while being one himself. An isolated outsider who rewrote the rule book to his favor unconcerned about the opinions and the validation of others. Accused of glorifying violence only showcases how his detractors (as usual) have missed the point in his films where violence is used as a method to tell the story effectively and efficiently and arguably, comically. While it bears (occasionally) shock value, it is far from gratuitous or hyper-realistic. Quentin would be always Quentin and if he retires, it is his privilege. He already has offered a myriad of sensational characters, memory latched set pieces and incredible performances in a filmography whose worst entry can be described as very good. Not bad for a kid who only watched motion pictures on VHS and did not go to a university or a fancy arts school. Whether his type of outputs is attractive to you or not, you cannot deny that Quentin never repeated his schtick across his small and elective career, jumping from one genre to another while simultaneously offering his own takes under an original voice. If that is not a vast contribution to the cinema, then no one knows what it is.
10. Jackie Brown (1997)
Tarantino’s most restrained film to date, it is the only one that hasn’t been sprouted from his imagination. After his massive success with “Pulp Fiction“, it is fascinating to watch Tarantino descending into the world of Elmore Leonard and focus on a middle aged romance between a tough flight attendant and a bail bondsman amidst drug dealers and corrupt DEA agents. Tarantino gives blaxploitation icon Pam Grier a long-time deserved platform to showcase her talents who became a quiet icon of feminism (as opposed to all the pompous stuff that dolled up American sweethearts attempt to discuss) sharing brilliant chemistry with the likes of Michael Keaton and Samuel L. Jackson. Yet, its lack of real Tarantinian elements such as the tone down dialogue and small scale which place “Jackie Brown” at the bottom of the list; the director-writer’s well known wit, shock value or infectious film homages are all but gone.
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Best scene: The opening credits with a dazzling Pam Grier in the now iconic blue outfit.
9. The Hateful Eight (2015)
“The Hateful Eight” occasionally is very good. But a few times it drags displaying Tarantino’s worst and best tendencies at the same time. The monotonous setting and the absence of an actually really cool character drag it down. With the exception of Kurt Russell’s badass bounty hunter, the film does not do much besides having dialogical segments after dialogical segments featuring several lackluster flashbacks that only derail and extend the already long running time to a numbing degree. Despite its shortcomings, the production and particularly, the costume design is incredible, the choice of shooting in 70mm favors the film’s style and the original score by Ennio Morricone that resembles his work in John Carpenter’s “The Thing” gives a claustrophobic sense. While the underlying racial tensions are probably unnecessary, the cast is on fine form, particularly a superb mustache sporting Russell who is having the time of his life and a deliciously nasty Jennifer Jason Leigh.
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Best scene: 8 people enter the cabin. Who is the traitor?
8. Reservoir Dogs (1992)
One of the most famous directional debuts of all time, “Reservoir Dogs” was pioneering for a plethora of reasons: Groovy soundtrack? Check. A heist that goes wrong but we never see it? Check. Excruciating and implied violence? Check. Memorable scenes? Check. Debates on pop culture and every day conversations by criminally involved individuals delivering a gazillion zingers? Check. Great cast and non linear format? Check! A complete film from beginning to end, Tarantino became the ambassador for hyper-cool and violent films that disparaged the sensibilities of the 90s. This heist flick has now become legendary due to its infamous ear scene with the world’s most famous psychotic character in Mr. Blonde after Anthony Hopkins’ Hannibal Lecter. Entertaining and subversive, “Reservoir Dogs” is a sign for greater things to come.
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Best scene: Of course the moment Mr Blonde decides to torture a cop. Unforgettable.
7. Once Upon a time in hollywood (2019)
“Hollywood”, a fantasy set in Tarantino’s favorite cinematic era (the late 60s) is by far his most mature and easily accessible film to date. A master storyteller, he blends real life personalities with fictional ones in a massive love letter to everything he worshipped as a child. Under a delightful 60s soundtrack, there is less emphasis in violent sequences and witty dialogue exchanges and more in the recreation of Hollywood Boulevard (Barbara Ling’s production design is fantastic) and its famous occupants. Taking time to explore a fading TV star’s career and his relationship with his stunt double, he slowly switches gears to introduce the dominating satanic paranoia of that period (a detour in the George Spahl ranch is typically tense) until the bonkers and hilarious finale. His stars are up to the task too, particularly Brad Pitt who rightfully received the Best Supporting Actor Oscar as the stoic but violent Cliff Booth.
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Best scene: Wrong place, wrong time, wrong people.
6. Django Unchained (2012)
In “Django Unchained” Tarantino elected to educate audiences in the brutality of slavery by depicting mostly off screen sequences of that disgraceful period in American history. Amidst all this misanthropy though lays a tale of revenge. Boasting sensational performances from Christoph Waltz and Jamie Foxx, it is Leonardo DiCaprio’s and Samuel L. Jackson’s villains who steal the show. Perhaps the most despicable Tarantinian antagonists of all time, DiCaprio’s Calvin Candie, a boy-king with rotten teeth, Francophile attitude and petulant behavior is mesmerizing to watch while Jackson is unrecognizable as the bastard who betrays his own race to keep his power. Despite peaking sooner than expected at a very lengthy running time, it has hilarious sequences that only Tarantino can pull off (giving it a tonal shift), gorgeous cinematography and authentic production values to make this unusual western one for the ages.
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Best scene: Django showcases his lethal six shooter skills to plenty of Candie’s goons.
5. Inglourious Basterds (2009)
The first of his revisionist trilogy, the peculiarly named “Inglourious Basterds” came out of nowhere preventing itself to cater towards typical war movie tropes. In fact, expect no war sequences at all. Staged more like a play and less like an action adventure at the backdrop of one of the most horrific conflicts in human history, Tarantino creates a powerhouse character in Hans Landa, the Nazi Jew hunter who had audiences at the edge of their seat in the opening sequence alone with a relatively unknown Christoph Waltz giving one of the best performances of all time. Unable to resist to pay tribute to movies, the finale set in a Parisian cinema brings together tough female characters, superb costume design and scenes of outstanding suspense across three languages (French, English, German), a feat that only Tarantino could pull off demonstrating simultaneously that he can do more than A+ homages to forgotten genres.
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Best scene: The opening scene is by far one of the most incredible things that modern cinema has offered.
4. death proof
After reaching a creative and critical peak in his epic martial arts duology (i.e., “Kill Bill”), Tarantino conceived along with pal Robert Rodriguez a tribute to all those C+ 70s grindhouse flicks. Featuring lackluster scripts and focusing solely on the visual department with babes and cheap thrills, their enthusiastic attempt was somewhat forgotten despite an initially warm response. A shame really as “Death Proof” features some of this best (and pointless) dialogue, an incredible soundtrack that will have even your plants moving to the rhythm and two sensational sequences of shock value and awe. Giving a massive platform to every day women to defend and defeat a serial killer in the form of Kurt Russell’s charismatic and seductive Stuntman Mike back in the early noughties was the ultimate feministic f*** you to a decade that boasted unnecessary sex appeal.
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Best scene: It is either the car crash or the extended 16 minute car duel at the end.
3. Kill Bill Volume 2 (2004)
Who would have though that Tarantino could be in touch with his feminine side? Ultimately, a testament for the power of motherhood, “Volume 2” gives plenty of emotional room for the Bride to move around, infusing her character with depth and substance. While the first installment was more Kill than Bill, “Volume 2” rectifies this by placing front and center David Carradine’s titular antagonist, the head of the Deadly Viper Assassination Squad. Like a snake hypnotizing its pray before it strikes, Carradine moves from tenderness and honesty to brutality in a split of a second crafting a complex, intriguing and sincere villain who is impossible to dislike. The increase in emotional stakes affects the action quantity (a trailer skirmish is outstandingly nasty) but that does not detract from sequences boasting some of Tarantino’s career best dialogue particularly in the extended final confrontation that would leave you in tears. Yes, really.
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Best scene: Elle vs. Beatrix - this is not your Hollywood’s typical female brawl.
2. Kill Bill Volume 1 (2003)
The number one action film of all time as chosen by FilmMining 101, “Volume 1” is a simply a masterclass in staging epic martial arts, going further than any film of the genre had gone before. Incorporating elements from a number of genres (particularly from Asia), Tarantino goes ballistic in his style employing anime flashbacks, split screens, black and white sequences, miniatures and Japanese style blood to his tale of roaring rampage of revenge. This is Tarantino at his goriest although its presentation is so OTT that causes more laughter than disgust. Choreographed to perfection by Yuen Woo-ping, the on-screen clashes are the stuff of legend culminating into an action packed finale inside the most famous cinematic restaurant of all time. Despite being light on substance though, the unorthodoxically shot “Volume 1” set ups nicely the mystery of the Bride’s mission elevated by Uma Thurman’s career defining performance.
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Best scene: Hands down the extended showdown in the House of Blue Leaves that changed action cinema forever.
1. Pulp Fiction (1994)
“Pulp Fiction’s” entertaining value remains timeless. A perfect film in every way - whether it is staging eyebrow raising sequences or making fun of serious situations, Tarantino and his exceptional cast demonstrate how unique his dialogue can be. Foot massages, quarter pounders with cheese and wax museums with a pulse are there to heighten the reactions of antagonistic individuals. This quintessential 90s film swings from funny to thrilling and it is precisely this tonal shift that works in its favor. Its decade enduring characters - Travolta, the best Vincent Vega one could hope for - keep attracting new cinephiles to this day. Inspired from hundreds of sources, for all its 90s setting, “Pulp Fiction” is a 50/60s apotheosis; from its immortal and digenic soundtrack to twist dancing, its non linear format feels the right tool to offer so many iconic and subversive scenes into a smoothie of cinematic perfection.
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Best scene: Too many so we will mention all of them! Foot massages! Ezekiel 25:17! Jack Rabbit Slims Twist Contest! Overdose! Divine intervention! Marvin goes to heaven! Ringo and Bunny get owned!