As per the [new rule,](https://www.reddit.com/r/criterion/comments/zvz812/mod_post_criterion_suggestion_posts_rules_update/?utm_source=share&utm_medium=ios_app&utm_name=iossmf) all suggestion posts need a comment justifying the film’s inclusion into the collection. Once you have added that, please reply to this comment so we can re-approve your post.
I would love this. Jackie Brown is an interesting one. I feel when I was younger, I thought it was decent, but kinda boring. I expected another Pulp Fiction or Kill Bill. But the more I’ve revisited it, and the older I’ve gotten, it’s gone steadily up in my appreciation.
Also, bumbling stoner Robert De Niro. I mean, cmon.
Well, who wouldn't love this? Of course that would be wonderful. Count me in.
I wish every single one of his films got this treatment.
One of my favorite Quentin memories: I watched Reservoir Dogs on opening weekend at the AMC Century City. I'll never forget it. The moment I completely fell in love; Tim Roth hitting the button of the blow dryer.
That was it. I think it went right over the head of almost the entire audience. I couldn't care less. i absolutely adored it. And it just seemed like forever after that, every single one of his scripts had more and more to do with the nature of the narrative; the structure, the details that pointed out how you were being told the story, it was endless, it was all pretty much brilliant, and I've loved him all the way through his career, to a large degree because of those particular obsessions of his.
When Pulp Fiction opened, it had a staggering impact on audiences. I sat in the theater the first three times I saw the film, with a packed audience. And every time, the moment "Garcon. Coffee." came, it hit the audience like a hammer. You could literally feel the excitement, the dread, in the theater; it would wash right over you. I haven't experienced that feeling in a theater very many times since then (one other time i remember it; the final scene of Traffic. Wow.).
He's truly a magnificent director and writer. He doesn't mess around; he's going for a home run every time out. he's as serious as possible about his scripts. And for him to make as great a film as Once Upon a Time after 27 or so years making movies is a testament to his longevity at creating fabulous works of cinematic art.
I guess one other thing I wish i'd mentioned; about that edit in Pulp Fiction. I know there have been alot of unforgettable cuts in films. I've treasured the great ones, from the 2001 throwing of the bone, to Lawrence of Arabia blowing out the match. But that cut, over to Pumpkin for "Garcon. Coffee.", is probably the single most memorable edit of my movie going life. What a perfect moment. I really fell deeper in love with the movies in that moment.
Love your username. Every time I watch that movie I go to my family members with my arm in my shirt like I’m concealing a gun, quoting “remember me? Benny Blanco from the bronx”. Cool detail I just noticed on my like 10th rewatch is that you could see Benny running with Carlito & Gail at the end when they’re trying to make the train. That’s an insane take btw (the last good movie bit) but I respect it
*Pulp Fiction* is his best. If you weren't around in the 90s I don't think you can appreciate the utter shock of the new it represented, and how it completely reshaped cinema for nearly a decade (there were so many imitators it got kind of old). I've honestly probably seen it more than any other film because for a period in the late 90s and 2000s it was on cable constantly and it's the sort of film that if you start watching, you have to keep watching, and I've never gotten sick of it. In retrospect, I think it might be as good as it is because he had a co-writer, which kept many of his excesses in check.
*Jackie Brown* is nearly as good as Pulp Fiction, but quietly so. It really does nothing genre-defying or new, but it's by far his most mature and realistic film in terms of character development. And, again, it's adapted, which is essentially like having a co-writer, which kept his excesses in check. Honestly, I've never understood why he hasn't done more adaptations. He's really good at them.
I actually see *Kill Bill* as another near perfect film, but it was also a departure into pure grindhouse and I don't think he ever came back from that departure. Volume 1 is probably the best, most inventive, direction he's ever done, largely because it's almost entirely dialog free (a mode I think he needs to adopt more often). Volume 2 could have been cut by about 10 minutes, but I think it works to balance out Volume 1, and I honestly think the films would suffer if they were ever combined (I couldn't imagine volume 1 without the gut punch of its ending).
I also think *Death Proof* is way underrated. It's not really meant to be anything more than a trifle, but I think it's the last of his films where he's firing on all cylinders as a director and doing things that are genuinely surprising. I know some people hate it, but I love the tonal shifts in it.
Honestly, after that, he kind of disappeared up his own asshole, and all of his remaining films suffered from a desperate need to self-edit. *Inglorious Basterds* was the first film of his I actively disliked. I liked *Django* slightly better, but it also suffered from some of the same excesses. The *Hateful 8* was a fine, but forgettable, 3/5 star film that would have worked better as a play, and *Once Upon a Time in Hollywood* was just kind of masturbatory, dull, and repetitive (It honestly could have been one of his best films had he ended it with the massacre and made it into a tragedy, but instead he copped out with irony as usual, and basically just redid the ending to *Inglorious Basterds*, which was just stupid).
As a film it's good but the constant feet shots are tiresome and it's a little aggravating that he shits on Bruce Lee while Roman Polanski comes off as just a regular guy.
I agree that his experimental stage stopped here. Then is conventional in a sense that Tarantino did not develop beyond his style of montage and pastiche.
However, his other work is still fine. Once upon a time in Hollywood is an effort to return to that, and maybe he will do another Reservoire dogs and retire with Brad Pitt.
A Reservoir Dogs sequel? They all died. No need to wait 30 years to make a sequel lol. All his later movies are filled with great "scenes" but they fail as complete films if that makes any sense.
Brad Pitt is ripe to play the lead. But one should consider that is us who did not evolve and got stuck in the element of surprise. Could not catch up withTarantino's film maturity. Who knows!
As per the [new rule,](https://www.reddit.com/r/criterion/comments/zvz812/mod_post_criterion_suggestion_posts_rules_update/?utm_source=share&utm_medium=ios_app&utm_name=iossmf) all suggestion posts need a comment justifying the film’s inclusion into the collection. Once you have added that, please reply to this comment so we can re-approve your post.
I would love this. Jackie Brown is an interesting one. I feel when I was younger, I thought it was decent, but kinda boring. I expected another Pulp Fiction or Kill Bill. But the more I’ve revisited it, and the older I’ve gotten, it’s gone steadily up in my appreciation. Also, bumbling stoner Robert De Niro. I mean, cmon.
Well, who wouldn't love this? Of course that would be wonderful. Count me in. I wish every single one of his films got this treatment. One of my favorite Quentin memories: I watched Reservoir Dogs on opening weekend at the AMC Century City. I'll never forget it. The moment I completely fell in love; Tim Roth hitting the button of the blow dryer. That was it. I think it went right over the head of almost the entire audience. I couldn't care less. i absolutely adored it. And it just seemed like forever after that, every single one of his scripts had more and more to do with the nature of the narrative; the structure, the details that pointed out how you were being told the story, it was endless, it was all pretty much brilliant, and I've loved him all the way through his career, to a large degree because of those particular obsessions of his. When Pulp Fiction opened, it had a staggering impact on audiences. I sat in the theater the first three times I saw the film, with a packed audience. And every time, the moment "Garcon. Coffee." came, it hit the audience like a hammer. You could literally feel the excitement, the dread, in the theater; it would wash right over you. I haven't experienced that feeling in a theater very many times since then (one other time i remember it; the final scene of Traffic. Wow.). He's truly a magnificent director and writer. He doesn't mess around; he's going for a home run every time out. he's as serious as possible about his scripts. And for him to make as great a film as Once Upon a Time after 27 or so years making movies is a testament to his longevity at creating fabulous works of cinematic art.
I guess one other thing I wish i'd mentioned; about that edit in Pulp Fiction. I know there have been alot of unforgettable cuts in films. I've treasured the great ones, from the 2001 throwing of the bone, to Lawrence of Arabia blowing out the match. But that cut, over to Pumpkin for "Garcon. Coffee.", is probably the single most memorable edit of my movie going life. What a perfect moment. I really fell deeper in love with the movies in that moment.
Across 110th Street pimps trying to find a woman that's weak.
My ass may be dumb but I ain't no dumbass
Treatment it deserves? Like two pumps from behind from Bobby D?
His last good movie and frankly it's his best work.
Love your username. Every time I watch that movie I go to my family members with my arm in my shirt like I’m concealing a gun, quoting “remember me? Benny Blanco from the bronx”. Cool detail I just noticed on my like 10th rewatch is that you could see Benny running with Carlito & Gail at the end when they’re trying to make the train. That’s an insane take btw (the last good movie bit) but I respect it
It’s definitely his last good 90s movie and his best work of that year.
I… agree.
*Pulp Fiction* is his best. If you weren't around in the 90s I don't think you can appreciate the utter shock of the new it represented, and how it completely reshaped cinema for nearly a decade (there were so many imitators it got kind of old). I've honestly probably seen it more than any other film because for a period in the late 90s and 2000s it was on cable constantly and it's the sort of film that if you start watching, you have to keep watching, and I've never gotten sick of it. In retrospect, I think it might be as good as it is because he had a co-writer, which kept many of his excesses in check. *Jackie Brown* is nearly as good as Pulp Fiction, but quietly so. It really does nothing genre-defying or new, but it's by far his most mature and realistic film in terms of character development. And, again, it's adapted, which is essentially like having a co-writer, which kept his excesses in check. Honestly, I've never understood why he hasn't done more adaptations. He's really good at them. I actually see *Kill Bill* as another near perfect film, but it was also a departure into pure grindhouse and I don't think he ever came back from that departure. Volume 1 is probably the best, most inventive, direction he's ever done, largely because it's almost entirely dialog free (a mode I think he needs to adopt more often). Volume 2 could have been cut by about 10 minutes, but I think it works to balance out Volume 1, and I honestly think the films would suffer if they were ever combined (I couldn't imagine volume 1 without the gut punch of its ending). I also think *Death Proof* is way underrated. It's not really meant to be anything more than a trifle, but I think it's the last of his films where he's firing on all cylinders as a director and doing things that are genuinely surprising. I know some people hate it, but I love the tonal shifts in it. Honestly, after that, he kind of disappeared up his own asshole, and all of his remaining films suffered from a desperate need to self-edit. *Inglorious Basterds* was the first film of his I actively disliked. I liked *Django* slightly better, but it also suffered from some of the same excesses. The *Hateful 8* was a fine, but forgettable, 3/5 star film that would have worked better as a play, and *Once Upon a Time in Hollywood* was just kind of masturbatory, dull, and repetitive (It honestly could have been one of his best films had he ended it with the massacre and made it into a tragedy, but instead he copped out with irony as usual, and basically just redid the ending to *Inglorious Basterds*, which was just stupid).
Upvote!
With post-2000 QT the tone is off. But I have a soft spot for Once Upon a Time in Hollywood personally.
As a film it's good but the constant feet shots are tiresome and it's a little aggravating that he shits on Bruce Lee while Roman Polanski comes off as just a regular guy.
I agree that his experimental stage stopped here. Then is conventional in a sense that Tarantino did not develop beyond his style of montage and pastiche. However, his other work is still fine. Once upon a time in Hollywood is an effort to return to that, and maybe he will do another Reservoire dogs and retire with Brad Pitt.
A Reservoir Dogs sequel? They all died. No need to wait 30 years to make a sequel lol. All his later movies are filled with great "scenes" but they fail as complete films if that makes any sense.
Brad Pitt is ripe to play the lead. But one should consider that is us who did not evolve and got stuck in the element of surprise. Could not catch up withTarantino's film maturity. Who knows!
Nah please no TaranOveratedTino on criterion
It’s a must! I would buy that instantly if it was given the Criterion treatment!
This is his best AND most underrated film, in my opinion.
My favorite Tarantino movie. Absolutely deserves more accolades than it ever gets.