Fav Quentin Move has to be Kill Bill. Women kicking ass and taking names. Daryl Hannah totally shed that good girl image, Lucy Liu was just fucking fierce and Uma was downright wicked. However, it's as though Quentin gets boners for violence and gore, his movies would be just as good if if cut out some of the crap. I'm not really squeamish but most of his movies have that ick factor.
IMHO, when Tarantino's on, he's incredible; when he's off, he's abysmal. This looks like it's in the second category. I guess I will just have to go see hotass Chris Pine and Zach Quiinto Star Trek again.
Tarantino is the movies as SWINTON is to fashion. 99% of the populace will simply never understand when they are totally on their game, or totally fuck it up. And even when they fuck up at least it's interesting .
This kind of feedback really seals the narrative of Tarantino's career, at least for me. The more and more he aspires to re-create the Grindhouse films he loved in his youth, the more these films embody the spirit of those kinds of movies- soulless, trashy, pastiche. His movies were always inspired by Grindhouse, but they were "above" that influence in some way and they had heart, intelligence, a really literate quality, and it doesn't hurt that Tarantino is a damn good writer. He was never the pastiche hack his detractors portrayed him as, but slowly that's been stripped away from his films- they're just shlock without merit, as heartless as the movies he loves.
I loves me some Tarantino, but I can't get behind a movie that expects the audience to delight in wartime torture. It doesn't matter if they're Nazis, I'm still not going to sit through it.
It really irritates me that Tarantino, a "master" of stylized violence, would choose a topic like WWII (an era with so much actual bloodshed and suffering) as the backdrop to his fantasy violence. Completely disregarding the ACTUAL atrocities of the time in favor of some equally gory fantasy version seems so arrogant and disrespectful to me.
@Easybreezy: Actually, I think that's a good thing. There are respectful, mournful WWII movies all the time, and mostly I think they're boring and unoriginal (not the subject matter, but as pieces of art). WWII, for all of its painfulness and tragedy, is part of the history of our world and as such it's fair game to be played around with. I don't think he's trying to make light of the era, exactly, but he's trying to tell a different story about it than the one we normally hear, and I support that.
@Fridge Hussy :STOP ACTING LIKE YOU HAVEN'T SEEN A TITTY BEF...: Well, if that's all the movie was, then that'd be pretty boring too, but I've seen a lot of Tarantino and I'm pretty sure there's more to the film than that. If nothing else, apparently there's a whole lot of dialog. The man has a sense of humor.
@Easybreezy: I agree this is really problematic. I think there is room for sarcasm and humor in the representation of atrocity, but it has to be done in a really really really smart way. I'll reserve judgment until I see it but erasing history and turning the Holocaust into an apolitical cartoon does not seem to be the way to do it.
@J.D.Regent: See, now that's the interesting part, I read this as being not about the Holocaust but about WWII. The two are interlinked but separate historical phenomena. I think humor can be brought to war, and that to do so can be very productive and interesting as well as entertaining. But genocide? I am dubious that anyone is smart and witty enough to do an entire comedic movie about that.
I can't watch hyper-violent movies. I understand Tarantino is supposed to be a genius, but after seeing Resevoir Dogs I realized I am a baby and find gruesome movie violence really upsetting.
@Benevolent_Dictatrix (patently absurd): I'm with you. I cannot believe that there is such a demand for hyper-violence in cinema. Do people not have enough actual pain and suffering in their lives? UGH. It's so perfect that Tarintino is BFF with the Hostel director. I'm sure they have a great time together.
@Benevolent_Dictatrix (patently absurd): Normally, I find ultra-violence disturbing as well. For me, however, I find that the "stylization" and the fantasy quality to Taratino violence is sufficiently removing to watch most of his movies. I still have to look away at times.
However, I agree. He is not a basic flavor. For some reason, I find I enjoy his films more often than not.
@Benevolent_Dictatrix (patently absurd): Yeah, I really don't care for the kind of hyperviolence that directors like Tarantino, Zack Snyder, etc. use in their movies. I understand that it's a stylistic choice, but there's something that kind of bothers me that it's a stylistic choice employed mostly by white male directors, who are probably the least likely people to actually experience this kind of violence. I'm not actually exactly sure how to phrase my critique of it- it's just off to me, somehow.
@somedisaster: I absolutely get your critique. First for full disclosure, I am not some great champion of Tarantino. However, you are right- ultra-violence has long been the province of the young male director. I'll leave the race correlative aside because I'm not sure that is true - I'm pretty sure I've seen some whoppers directed by black directors. It may simply be the institutional racism of the studio system.
Anyway, I always feel like I shouldn't like Tarantino becausee of his violence. As if I'm acting barbaric. I don't play GTA. I hate straight-torture movies like Hostel and Saw... But Tarantino just has something extra that puts his violence into an artistic expression that I understand. He puts the ballet into violence, as it were.
@lolacat (aka Bob Graham's scalp medication): Definitely. I don't want to argue that there is no merit to the specific films Tarantino is making, because I agree that there's probably a lot of artistic merit behind the choices he makes in using stylized violence (I'm too squeamish to watch most of it, though). I do find it troubling in a systemic context, though- from what I can tell, 99% of the directors employing this stylized hyperviolence are men, who are stastically the most likely group to be perpetuating violence in real life (often against women, POC, LBGTQI people, homeless people, etc.), and whose privilege often protects them against repercussions.
@somedisaster: I agree. In a systemic context, there is a line between exploitation or glorification of violence and an artistic musing, for lack of a better word. And because it is something as base as violence, the fact that there is a line is a little uncomfortable to consider. Again, when it is almost entirely men who are attracted to creating this kind of "art" - that, too, is disturbing. A lot of directors, and video games and the entire media system, use violence as a titillation without once looking at it critically.
I think my Tarantino Line, much like the Maginot Line, is that I find his musings to be about film rather than about actual violence. He glorifies fiction and very obviously fiction. It is a fine distinction but one I find that Tarantino is capable of pulling off. Which is a testament to his talent. As a watcher of war movies that glorify the Allies, I'm really interested in how this one is going to work.
Well... I never trust the critics when it comes to a Tarantino film. His movies are just too Tarantino-esque to be judged. It has taken me years to figure out why I love Kill Bill. The guy works in a vacuum of good taste and sanity that, for some bizzaro reason, works for me.
@lolacat (aka Bob Graham's scalp medication): I like Kill Bill because it set everything up for Kill Bill 2. I like the dialogue in that one as much as the violence in the second one.
As far as I'm concerned, Quentin Tarantino won the right to do whatever he pleases with the, "English, motherfucker! Do you speak it?!" scene in Pulp Fiction. That is one of my favorite scenes in all of film.
Note: this right also extends to Samuel L. Jackson.
@baraqiel: Thank god for that last bit. But, I have to ask, even with that worthy quote, is Snakes on a Plane forgivable? Or is the line "snakes on a mutha'fucking plane" just more reason for SLJ to do whatever he likes?
@olivia2.0: That movie is awesome, but you have to watch it for what it is: total camp. They didn't set out to make something of quality, they set out to make something that was 100% over the top absurd, and oh man did they succeed.
As a QT (and Eli Roth) fan, this trailer looked abysmal to even me. I'll wait until it comes out on DVD. He's been working on this script for a looooong time though - before Kill Bill started filming - so to hear that it sucks is pretty disappointing.
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1. Tarantino.
2. BJ Novak.
3. Samm Levine.
Just seeing Ryan and Neil play big boys is enough for me.
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I might reconsider my first statement after I read that August Diehl and Daniel Brühl are also in the movie.
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It really irritates me that Tarantino, a "master" of stylized violence, would choose a topic like WWII (an era with so much actual bloodshed and suffering) as the backdrop to his fantasy violence. Completely disregarding the ACTUAL atrocities of the time in favor of some equally gory fantasy version seems so arrogant and disrespectful to me.
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However, I agree. He is not a basic flavor. For some reason, I find I enjoy his films more often than not.
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Anyway, I always feel like I shouldn't like Tarantino becausee of his violence. As if I'm acting barbaric. I don't play GTA. I hate straight-torture movies like Hostel and Saw... But Tarantino just has something extra that puts his violence into an artistic expression that I understand. He puts the ballet into violence, as it were.
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I think my Tarantino Line, much like the Maginot Line, is that I find his musings to be about film rather than about actual violence. He glorifies fiction and very obviously fiction. It is a fine distinction but one I find that Tarantino is capable of pulling off. Which is a testament to his talent. As a watcher of war movies that glorify the Allies, I'm really interested in how this one is going to work.
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I also loved Death Proof. I liked that one a lot.
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Note: this right also extends to Samuel L. Jackson.
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