Tarantino’s Most Transgressive Film


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As usual, you can’t ignore a Tarantino movie.

We can’t have a movie like this. It affirms things the culture wants killed. If men aren’t encouraged to cry in public, where will we end up? And the bottom line is the bottom line: Audiences don’t want to see this kind of thing anymore. The audience wants the kind of movies the justice critics want. But the audience gave Once Upon a Time in Hollywood the biggest opening of Tarantino’s career. The critics may not get it, but the public does. Is Tarantino making a reactionary statement at a dangerous time? Or does the title tell the truth, that the whole thing—including those old masculine values—was always just a fairy tale, a world “that never really existed, but feels like a memory”?

The complete article

Caitlin Flanagan — The Atlantic

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Quentin Tarantino makes his one true action movie, and it’s glorious


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This needull talks about Kill Bill: Vol. 1. An action movie where Tarantino goes no holds barred on action scenes.

Kill Bill—the whole bloody affair—is messy. The tone veers wildly from cartoonish silliness to bloodcurdling emotional intensity; think of the moment where Uma Thurman wakes from her coma, realizes that she’s no longer pregnant, and lets out a feral-animal howl before she gets to killing motherfuckers. And somehow, probably because Tarantino knows what he’s doing, those abrupt tonal shifts never kill the movie’s momentum. It rockets forward on its own logic, over the course of two movies. It’s a four-hour revenge spectacular that ends with a long philosophical discussion.

The complete article

Tom Breihan — The A.V. Club

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