10. “Once Upon a Time in … Hollywood” (2019)
Sharon Tate (Margot Robbie) is a meaningless footnote in her personal life story in Quentin Tarantino’s baffling and insulting ode to 1960s Hollywood. Robbie is criminally underutilized, taking a backseat to a fictional, mediocre actor (Leonardo DiCaprio) and his stunt double (Brad Pitt). They fear about their careers and mock Bruce Lee for 2 hours, till the movie builds to a merciless, misogynistic Manson Family climax that lastly reveals the true motive the movie exists: to be a shameless self-insert fantasy. “Once Upon a Time” is by far Tarantino’s most immature movie, a nonstop nostalgia fetish parade with no demonstrable respect for the real-life tragedies it portrays.
The Weinstein Company
9. “The Hateful Eight” (2015)
Quentin Tarantino’s 70mm one-location parlor thriller is chockablock with wonderful performances and his signature, glowing dialogue. But he appears all too keen to use the horrors of hatred and all too reticent to come back to any significant conclusions about them. The grotesque story follows despicable human beings trapped in a Wild West relaxation cease. The dynamite ensemble — Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Bruce Dern, et al — makes a meal of the screenplay, however all we’re left with is a mean-spirited punchline, which recommend that males can solely overcome their racism by discovering frequent floor in misogyny.
8. “Kill Bill: Vol. 2” (2004)
The second installment of Tarantino’s “Kill Bill” — which was launched theatrically in two components, in order that’s how we’ll assessment it — is gutsier than the primary, but in addition much less cohesive. The Bride (Uma Thurman) continues her roaring rampage of revenge with more and more episodic adventures, as she fights her one-eyed nemesis Elle (Daryl Hannah) and Bill’s brother Bud (Michael Madsen). But after the bravura finale of “Vol. 1,” the momentum by no means picks up once more, and we’re caught watching digressive subplots about menial strip-club upkeep and flimsy excuses for Michael Parks to play a number of roles. A couple of nice battles, a memorable flashback coaching sequence with the long-lasting Gordon Liu, and David Carradine’s best (albeit quick) efficiency make it value watching, but it surely’s onerous to disclaim that Tarantino merely front-loaded his grindhouse homage.
7 1/2. “The Man From Hollywood” from “Four Rooms” (1995)
The oft-overlooked anthology comedy “Four Rooms” options humorous vignettes from Allison Anders, Alexandre Rockwell, Robert Rodriguez and Tarantino. Although the installments are hit-and-miss (Rodriguez’s is the very best), Tarantino’s “The Man From Hollywood” is a deft little experiment in suspense. Tim Roth performs a hapless bellboy who’s enlisted to cut off somebody’s finger if, as Tarantino himself explains at size, they’ll’t get a Zippo lighter to ignite 10 instances in a row. It’s an terrible lot of build-up for a delectably amusing finale, subverting the Hitchcockian idea of cinematic rigidity in favor of whimsical, surprising realism.
7. “Death Proof” (2007)
Tarantino and Robert Rodriguez every directed a 1970s throwback for “Grindhouse,” a double-feature occasion htat additionally featured trailers by Edgar Wright and Rob Zombie. But not like Rodriguez’s “Planet Terror,” which is greater and crazier than its supply materials, Tarantino’s “Death Proof” precisely…
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