Kill Bill & Kill Bill Vol. 2

They've been discussed before but found their way down the boards on another page. I think Uma could see an Oscar nomination coming her way. Although it has a comic books style (or illustrated novel, whichever you prefer) I thought it had so much visceral excitement and comical satire to make it work -- it's really an rather obstuse love story.

"Pulp Fiction" is as much about filmmaking (like "Kill Bill," incidentally) as it is a story. The editing and dialogue are the most brilliant parts of the film and gave meaning to the time shifting (inspiring, IMO, "Memento"). It's also about violence and the desentitazation to violence. I've had someone question the scene with Bruce Willis when he turns the tables and whacks John Travolta in regards to gratuitous violence. I thought that was one of the most brilliant comic "gotcha" scene ever filmed -- Willis opening the door and blowing on the end of the gun to punctuate the fortunate confrontation of his own providence.

"Reservoir Dogs" is not a film I would revist many times but I could see Tarentino's talent for filmmaking blooming. The dialogue, again, is superb.

"Jackie Brown" is a definite candidate for watching again just for the dialogue and performances.
The story was a bit weak.

A lot of people avoid Tarantino for the violence in his movies. I like him not for the violence, but for the clever camera work and warping of time and point-of-view.

Pulp Fiction is Tarantino's best.
While Jackie Brown is good, it is probably the least of his films.
Reservoir Dogs is very good, but like Kill Bill, very brutal and should not be seen by the weak-stomached.

Kill Bill 1&2- having seen both of them, I think it is wrong to write them off as vulgar gratuitous violence. The camera work is superb. There are many clever references to pop culture.

I think you can view KB1&2 as entirely inside Uma's head. PERHAPS all the events and characters are aspects of Uma's own inner personality, and she overcomes each of these 'emotional blocks' on her way to coping with being an single mother. Or maybe it's just violence.

I find "Resevoir Dogs" to be more of a fixation on violence without an intense insight on violence. It's there but more difficult to accept. "Pulp Fiction" shows how violence is in all of us but we don't act on it -- we supress it. The characters use violence as if they were dining on a hot dog and it needs mustard. It's engrained in their karma. It is funny (a nervous laugh, to be sure) but when it sinks in, it's horrifying. Black comedy par excellance. I'm thinking throughout the film -- where's the law when you don't want them?

That final scene in the LA coffee shop is the most brilliant display of honor among thieves I've ever seen in a movie.

And wouldn't you love to know what's inside that briefcase in Pulp Fiction? Obviously, Tarantino understood that the "MacGuffin" is necessary but irrelevant, and teases us by not showing what it is.
Alfred Hitchcock coined the word MacGuffin to describe that thing or object in a movie that moves the plot action, which characters may covet, look for, or fight over, but which really doesn't matter to the audience.

I just watched KB1 on DVD and found it one of the best movies I ever seen, camerawise. Forget about the blood and chopped off arms... what really hooked me was the scene where <beep> tore one guy's eyes out-- all black and white afterwards, until she blinks--back to color, and the next moment, black and blue; bloody teriffic! That was the point where I saw Tarantino's schooling- Blockbuster!

I won't argue that Tarantino's gonna be the next Bergman or Spielberg, but he will always have a community of a fans that will love "Jackie Brown" or"Pulp Fiction" and the other films, and some will still think that "From Dusk 'til Dawn" is a film from him...

A friend of mine is a RABID film buff, and he went into this entire explination of how what was in the suitcase was actually the soul of the main gangster (the big black guy... Ving Raims, I think?)

Anyway, he says that its from folklore or mythology that the soul could be removed from the back of your neck (hence the bandaid he always had on his neck),

Once your soul is removed, you become vulnerable to all sorts of terrible events, like your luck has "run out". I don't know about you, but I'd consider losing a load of money in a fixed fight, getting hit by a car, and anally raped by some hillbilly cop "terrible events", lol,

Whats in the briefcase is obviously not money (whatever it is, glows brightly. And everyone who looks at it is mystified and says "Is that what I think it is?)

Maybe I'm way off base, but my buddy explained it much better than I, and it made a good deal of sense. Then again, I was drunk off my behind when we spoke about it...

I've read that analysis before -- I think it's on the Internet somewhere. There is also a great deal of mythological reference in "Kill Bill I and II."

Interesting theory tying in the briefcase and that bandaid on Ving Rhames' neck. I like it.

But, would people RECOGNIZE a soul when they saw it? I haven't seen very many. And although maybe Mother Theresa's soul glowed, I doubt Rhames' character's soul glowed much.

It may have glowed with the hot red of Hell.

Love tarantino, love his movies... Long live violent cinema!!!!!!!!

Look I think there's nothing wrong with violence in film as long as it's super cool violence like the way QT does it. i mean Quentin can make you believe that any dumb **** in his movies is super cool, For me tarantino has a way of making me feel like a kid again and wanting to be cool like his characters because all though usually they low lifes, gangsters, assasins and so on they all got a way of living and talking that is so appealling. besides with a tarantino soundtrack how can you not be cool?