Reservoir DOgs

Django

Editor’s Note: This article contains spoilers for Django Unchained (and all of Tarantino’s other films). With Django Unchained, Quentin Tarantino has taken a decisive shift in his approach to storytelling. Abandoning the non-linear, present-set depictions of an organized criminal underworld in Reservoir Dogs, Pulp Fiction, Jackie Brown and the Kill Bill films, Tarantino has not only transitioned to more conventional linear storytelling (with the exception of the requisite flashback), but chooses familiar historical contexts in which to tell these stories. With the WWII-set Inglourious Basterds and now with the pre-Civil War-era Western Django, Tarantino has made a habit of mixing the historical with the inventively anachronistic, and has turned recent modern histories of racial and ethnic oppression, dehumanization, and extermination into ostensibly cathartic fantasies of revenge against vast systemic structures of power.

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Quentin Tarantino

Emerging from a nitrate fire in 1963, Quentin Tarantino was fed only exploitation films, spaghetti Westerns and actual spaghetti until he was old enough to thirst for blood. He found his way into the film industry as a PA on a Dolph Lundgren workout video, as a store clerk at Video Archives and by getting encouragement to write a screenplay by the very man who would make a name for himself producing Tarantino’s films. Peter Bogdanovich (and probably many others) think of him as the most influential director of his generation, and he’s got the legendary story to back it up — not to mention line-busting movies like Pulp Fiction, Inglourious Basterds and Django Unchained under his belt. He’s also the kind of name that makes introductions like this useless. So here’s a bit of free film school (for fans and filmmakers alike) from a guy who really loves Hi Diddle Diddle and plans to keep 35mm alive as long as he’s rich enough to do it.

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This Tuesday is the 20th anniversary of the theatrical release of Reservoir Dogs, the film that not only put Quentin Tarantino on the map as an era-defining filmmaker but also gave the 3rd wave ska scene its own Phenix City Story (or Guns of Navarone or Dr. No or Scarface). Never mind the movie’s immediate legacy, though, because two decades later the story of “five total strangers” who “team up for the perfect crime” has outlasted the oddly inaccurate marketing (i.e. those lines from the posters, which also feature Chris Penn in a suit), the many copycats, the ska album samplings and even the overshadowing success and popularity of Pulp Fiction as the director’s big breakthrough to remain a significant pioneer and classic of American independent cinema. During its run in U.S. cinemas, which followed a debut at Sundance and appearances at Cannes and Toronto, not to mention earlier openings in parts of Europe, Reservoir Dogs never played on more than 61 screens, yet it earned close to $3 million. I’m certain it never hit my town in the suburbs, but I recall the first time ever hearing about it via a drawing of an ear in Entertainment Weekly illustrating a short note about the famously violent scene (my memory of this could be slightly off). And like so many of the film’s fans, I didn’t see it until the video came out the following Spring, at which time the torture bit became just one of numerous memorable moments. In […]

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Over Under: A New Perspective on Films New and Old

I break Quentin Tarantino’s career up into two stages. The first stage consists of his first three films, which are all crime movies, are all set in L.A., and which all just feel very much like “Quentin Tarantino movies” (a genre unto itself back in the 90s, if you lump in all the pretenders). After those first three films, he took a pretty lengthy six year break, and then he came back and started exploring other genres, making movies that were largely homages to the B-cinema he enjoyed in his youth. While there’s a soft spot in my heart for most of Inglorious Basterds, in general I prefer that first stage of Tarantino’s career to what came after. And as far as that first trilogy of crime films goes, I think most people are in agreement that Pulp Fiction is the masterpiece. It was the one that broke down the doors of the movie industry and ushered indie filmmaking into the mainstream, and it’s the one most often referenced when people talk about his career; so I’m not going to focus on that one here. I’m going to focus instead on Tarantino’s debut feature Reservoir Dogs, which was the film that first got heads turned in his direction, and which still gets mentioned right alongside Pulp Fiction as badass things from the 90s. And also I’m going to focus on Jackie Brown, which is kind of the forgotten Tarantino film. This is one that doesn’t get brought up much these […]

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Times are tough. You need a little extra cash. You have absolutely no regard for the law. What do you do? If you’re a total badass, you plan the perfect heist. And because Film School Rejects is dedicated to providing “news you can use” – and encouraging its readers to engage in all kinds of dangerous and illegal behavior – what follows is a handy guide to executing the perfect heist as dictated by some of the movies we love.  Or, in deference to the new John Luessenhop flick opening this weekend, you can think of the following as The Seven Habits of Highly Effective Takers.

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Artistic license, originality, worthwhile dialogue and the meaning of life are all discussed as Film School Rejects Conrad Rothbaum and Robert Fure go head-to-head in the first entry in the new FSR feature, “Shouting Match.”

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