Kill Bill: Volume 1 (2003)

"Revenge is never a straight line..."

Kill Bill (2003) is Quentin Tarantino’s first [well second if you count From Dusk till Dawn (1996)] tribute to the films of a “grindhouse” cinema. This film is a revenge story that’s jam-packed full of references to different films from all across the scope of cinema: different genres, cultures and styles.

The story of Kill Bill: Volume 1 revolves around a (thus far) unnamed assassin known only as “the Bride,” who is killed by other assassins but somehow survives and ends up in a coma. When she wakes up four years later, she has one thing on her mind: revenge on those who turned on her.

Kill Bill is a film that works far better than it really should. If anyone else tried tried to combine, tribute and homage so many different films in one it would not be as successful as this one. I personally think its Tarantino’s own bold and well defined style that makes all these different things work together so well under one roof. Just look at Pulp Fiction (1994), that film is not only a mash-up of 3-4 different stories but also different musical styles and time periods. But Kill Bill makes Pulp Fiction look like child’s play. This film seamlessly drops direct references to American, Italian, Japanese, Chinese, kung-fu & martial arts, anime, samurai, western and action films and even comics all over the place. Some of these are slight little nods [like the Bride's motorcycle jumpsuit that's patterned after Bruce Lee’s jumpsuit in his final and uncompleted film The Game of Death (1972)], others are the way a person gets killed or even just mirroring the way a shot is framed in another film.

I think some of my favorite ways this film uses different styles is the way the amazing soundtrack (almost all hand chosen from different films) combines with the stylish cinematography. You’ll hear western music over two people kung-fu fighting all the while telling it’s own original story. There’s far too many references in this film for me to dwell on it any longer but if you want a treat check out The Quentin Tarantino Archives, they have compiled quite a few references on their site. Its not a complete list because there were a couple things I noticed that they didn’t have listed, but they have a lot of stuff I had no idea was lifted from other films so be sure to go check that out, its a fun read.

Most of the problems with this film stem from the fact that its really only half of a story. The set up is great, but it doesn’t pay off on it’s own and without more answers or a decent conclusion the film seems like a stylish but empty action film. The ending in fact, makes an amazing mid point (revealing her daughter is still alive).

Now this is no problem if you look at the films as two parts to one film, but as it is right now Quentin Tarantino has never given the full film a decent release. If he wants to release Kill Bill: The Whole Bloody Affair in wide release or even just on home video, I will revisit this film as one film. But until that day as it is now, I'm sorry its two films.

I usually don't care for Lucy Liu too much as an actor but I love her in this film because her backstory is told in one of the greatest anime sequences in film or television history. Its absolutely beautiful and very expressive with lots of really stylized action and great shot choices. The anime sequence is produced by Production I.G. the studio responsible for Ghost in the Shell, Neon Genesis Evangelion & FLCL. This is such a great way to incorporate another medium even one as drastically different as anime.

I love the fight choreography and cinematography in this film. The cinematography is made up mostly of homages to other films combined in really interesting and clever ways and Tarantino was smart to hire fight choreographer Yuen Woo-ping, who is well known for his work in the films Wing Chun (1994), Iron Monkey (1993) and Jackie Chan's Drunken Master (1978).

And lastly I gotta mention Sonny Chiba, I personally love Sonny Chiba and apparently Quentin Tarantino really does too. I love the way he uses him in this film as an almost Yoda-esque retired sword-maker. His performance in this film is cool, funny and super memorable all in one, and that's really something because apparently he can speak next to no English!

Kill Bill: Volume 1 (2003) is probably Quentin Tarantino's most stylish and action packed film to date, but without it’s second half a large part of the film seems like it's just another emotionally hollow action film. 4/5 Stars.

Happy watching!

Check out this original minimalist poster design I did for this film, click through to buy prints/posters etc. OR check out other movie posters I designed here. :)

Want more Tarantino goodness? Check back all month for my Tribute to Tarantino in honor of his latest film Django Unchained (2012).

Go back to Tarantino's first film with Reservoir Dogs (1992), check out the first script he wrote (but didn't direct) True Romance (1993), The smash hit that really put him on the map Pulp Fiction (1994), another film written by him but in the hands of another director From Dusk till Dawn (1996), or his blaxploitation-influenced crime film Jackie Brown (1997). I got films planned all month so be sure to check back!



Like this blog? You can support it by buying this film (and 8 other Tarantino hits from his 20 year career) in this new set (now on Blu-ray) through these links:

Jackie Brown (1997)

"Half a million dollars will always be missed."

Jackie Brown (1997) is a crime film directed by Quentin Tarantino and based on the book Rum Punch by Elmore Leonard. The film is Tarantino's tribute to blaxploitation films of the 70s. It follows a 47-year old flight attendant named Jackie Brown who is caught bringing cash into the country for a gun dealer named Ordell Robbie and the many different parties that would like to run off with Ordell's half a million dollars.

This film has an absolutely amazing cast. There's nothing better than a film with a character-driven story where every character has a great actor behind it. It's no surprise that this film revitalized Pam Grier's career because she is really great in this film. The only character I didn't really care for is Robert De Niro as Louis Gara, a bankrobber recently released from prison. He's not bad in it, but this is a pretty minor role and I kind of feel like its kind of a waste for Robert De Niro's talent.

A majority of this film uses actual lighting, in a world where every movie has fake "Hollywood lighting" this really stands out to me. Not just in mall scenes where it would have been hard to affect the lighting, but I love how Tarantino uses the very dark lighting inside apartments to it's full effect. This is such a simple way to increase the suspense and intensity in a film, but I'm completely blown away by its use in this film.

The plot in this film is too convoluted and complicated for my taste. It took me a couple viewings before I really appreciated how much is actually going on. But with so many characters and so many different plans and plots I just feel it could have been a lot simpler.

The film also seems incredibly long winded. I'm not sure if this is just because we effectively watch a money heist/exchange four different times or what. Also the structure is unusual to this film in that it takes almost an entire hour to set up all the different characters and their separate plans.

Also the cinematography seems a lot less meaningful and more random in this film than most other Tarantino films. For example this film has a lot of random close ups for seemingly no reason.

This film does a thing where it shows a money exchange three different times. Each takes place at the same time, nothing actually changes in the exchange, but each is shown with a different perspective and each gives the viewer more insight into what actually happened. It's kind of like Rashomon (1950) except the events don't actually change from each character perspective, it just takes advantage of the fact that not every character is going to see the same thing because they all enter and leave at different times. This is something that must have taken a long time to plan, but its masterfully executed really seamless and surprisingly easy to follow and figure out while you're watching.

And if for no other reason you see this film, I recommend you see it just for Samuel L. Jackson's character Ordell Robbie. Samuel L. Jackson hit's all the major ranges of emotion with this one character. I love how funny and humorous (and even dumb) he can be in one scene and yet completely menacing and sinister in another. He's really a treat to watch and makes a really convincing antagonist for the story.

Jackie Brown (1997) is probably Quentin Tarantino's least "flashy" film, but its a very solid film and has a great cast and amazing characters. 4.5/5 Stars.

Happy watching!

Check out this original minimalist poster design I did for this film, click through to buy prints/posters etc. OR check out other movie posters I designed here. :)

Want more Tarantino goodness? Check back all month for my Tribute to Tarantino in honor of his latest film Django Unchained.

Go back to Tarantino's first film with Reservoir Dogs (1992), check out the first script he wrote (but didn't direct) True Romance (1993), The smash hit that really put him on the map Pulp Fiction (1994), or another film written by him but in the hands of another director From Dusk till Dawn (1996).



Like this blog? You can support it by buying this film (and 8 other Tarantino hits from his 20 year career) in this new set (now on Blu-ray) through these links:

From Dusk till Dawn (1996)

"Fight now, cry later."

From Dusk till Dawn (1996) is a violent crime/horror exploitation film directed by Robert Rodriguez. Much like True Romance (1993) this is one of only a couple of films written by Quentin Tarantino, that he didn't actually direct. He wrote the screenplay very early on and in a very short time span (in two weeks!) with the intent to sell. People would call him up and tell him they loved it, but no one actually wanted to make it. When everyone passed on it Quentin's good friend Robert Rodriguez expressed interest and they decided to go forward with it.

The story follows the bank-robbing Gecko brothers on a killing spree as they try to escape the police and cross the border to Mexico, they hijack a family's RV and everything is going well but things take a drastic turn for the worse once they get into Mexico.

(Special spoiler warning for this one: If you want the full experience of this film don't read on any further. This film has a drastic twist halfway through and I'm going to talk about it bellow.)

The script for From Dusk till Dawn is really clever. The film starts out as a pretty typical 'bank-robbers-on-the-run' heist-type film that halfway through completely shifts tone and becomes a very gruesome horror film much like the exploitation horror films of the later 70s through the 80s. The shift is very weird but also clever and unique. What I like about it is how completely the script shifts and almost before the viewer knows it, they're in a completely different movie.

I like how well thought-out the characters are: a preacher whose recently lost his faith, a professional bankrobber who's stuck with his sex-offender brother. This is less so for the characters introduced in the second half (the Vietnam vet and Sex Machine the very typical biker bar patron), but with the genre shift it almost actually fits. The characters introduced later almost follow different rules because of the change of tone in the film.

And the film is packed with (now-classic) Tarantino dialogue. I really like the way the characters talk in this film and it's filled with lots of really memorable lines: "I said 'plant yourself.' Plants don't talk." and "What's in Mexico?" with the very memorable answer "Mexicans."

The genre shift in the film really leaves some awkward pacing, this is especially noticeable in the second half of the film though where all the action kind of happens in waves giving the characters these long breaks to talk about things between monster attacks.

Luckily his part is pretty minor, but the Asian adopted son of Harvey Keitel, Ernest Liu really just a nothing-special child actor and kind of sticks out like a sore thumb surrounded by all these other really great actors in this film.

And lastly I really don't care for the ending of this film. Its not fulfilling or satisfying at all and seems pretty meaningless. Tarantino has done meaningless endings before, but this one seems un-stylish and like they had nothing else they could think of to end on. What does the end establish? George Clooney's character isn't that bad of a guy? Yeah, the whole movie established that.

This film has one of the greatest opening sequences I've ever seen. The film starts so nonchalantly, then out of nowhere turns into a cut-throat hostage situation that's stylish funny and very interesting. It's 11 minutes long too! That's pretty intense for an opening to a film.

I love the camerawork in this film. Robert Rodriguez really knows how to direct a camera, he said that he actually emulated the way Quentin would frame a shot during specific scenes in this movie. But I gotta say, I think I like the cinematography in this film a lot more than I do in most Tarantino films!

And almost all the acting in this film is really sound, but the two actors that stand out are the two opposite leads George Clooney and Harvey Keitel. It's hard to even conceive this today but back in 1996 George Clooney was a huge actor on the small screen on E.R. but had never been in a movie before. Rodriguez and Tarantino saw the potential and cast him in a completely different role than he usually had and as a result of this film, he was amazing and his career just took off afterwards. Harvey Keitel is just a great actor he just knows how to command the camera's presence in the film, but his role in this film is pretty different than anything I've ever seen him in, and he really nails it. It just shows how great of a range he has as an actor.

From Dusk till Dawn (1996) is a very fun and stylish film that is super clever and a great blend of multiple genres. 4/5 Stars.

Happy watching!





Want more Tarantino goodness? Check back all month for my Tribute to Tarantino in honor of his latest film Django Unchained.

Go back to Tarantino's first film with Reservoir Dogs (1992), check out the first script he wrote (but didn't direct) True Romance (1993) or The smash hit that really put him on the map Pulp Fiction (1994.



Like this blog? You can support it by buying this film through these links:

Pulp Fiction (1994)

"Say 'what' again."

Pulp Fiction (1994) is Quentin Tarantino's crime anthology film. Pulp Ficiton is actually 3 different stories (about 40 minutes each) with a fourth story (the diner scene) that is split into a prologue and epilogue for the film. Each story crosses over at some point and characters from other stories walk in to other stories (primarily Vincent Vega). The stories are about a couple that decides to rob a coffee shop (prologue/epilogue), two hitmen that have a the strangest day of their lives (The Bonnie Situation), a hitman who has to take his boss' wife for a night out on the town (Vincent Vega and Marsellus Wallace's Wife), and a prizefighter that's trying to outsmart and escape gangsters (The Gold Watch). Each story seems to revolve around the craziest things that could happen on a otherwise seemingly normal day.

This film makes for a really great follow up to Reservoir Dogs (1992), it has the same bold style that I really liked about that film, but it all feels a little bit bigger and more comfortable. This is the first film of Quentin Tarantino's films that I think he really hits his full stride on his style. His quirky writing, great music choices, unique storytelling, and stylish scenes really all come to full bloom in this film. And much like Reservoir Dogs, some of my favorite things about this film are the simple but stylish little quirks he puts in that show he's really thinking about interesting ways to make a film, for example: Mia Wallace's "don't be a square" gesture complete with on screen diagram, I like how the camera moves over at the end of Zed's "Eeny, meeny, miny, moe" to further show who his first victim will be, and who could forget the creativity of Jack Rabbit Slim's? ..."a wax museum with a pulse."

I also just really like the humor in this film, and not just the humorous dialogue there's lots of awesome viusal gags (like hitmen dressed in beach volleyball clothes!)

It's not bad so much, but I don't find Bruce Willis' story about a boxer named Butch trying to outsmart the mob really as strong as the others. It's still a strange tale, with a really weird couple of occurrences but it's just not as interesting as the other two (or even the diner scene) to me. The core story about a boxer trying to outsmart a promoter is also completely ripped off of one of the greatest boxing films of all time, Body and Soul (1947). That being said, it's no surprise then that this is the one segment of the film that Quentin Tarantino didn't write, I feel it shows.

I gotta mention how much I love the structure of this film. I feel like this is one of those films, that shouldn't have worked as well as it really does. Aside from being multiple stories (as I've already mentioned) the film also tells the stories out of order, characters die in one story and then their alive in the next! Although these are separate stories I love that they are somewhat circular and the things that are set up in the very beginning come full circle by the end. In fact, like how you wouldn't notice this on the first viewing, but the film sets up every single story and at least mentions each character in the first twenty minutes, some of them more obviously than others. Each story really works on it's own as a great short film, each with an amazing climax. But the way the film works together as a whole is a lot better than Tarantino's next anthology project Four Rooms (1995).

I love that the film has a great all-star cast but this doesn't get in the way of each of the characters really seeming like real people. Much like Reservoir Dogs (1992) I love how this film even makes dreaded hitmen argue and converse like your best friends do.

The film's writing is absolutely amazing to me. Tarantino's style is fully exemplified here and I love how he drowns exposition in so much minute and obscure detail that you have no idea what you are hearing is actually going to be very important later on.

Pulp Fiction (1994) is one of Quentin Tarantino's best films, it's very stylish, "cool" and probably one of his most creative storytelling-wise. 5/5 Stars.

Happy watching!

Check out this original minimalist poster design I did for this film, click through to buy prints/posters etc. OR check out other movie posters I designed here. :)

Want more Tarantino goodness? Check back all month for my Tribute to Tarantino in honor of his latest film Django Unchained.

Go back to Tarantino's first film with Reservoir Dogs (1992) or check out the first script he wrote (but didn't direct).



Like this blog? You can support it by buying this film (and 8 other Tarantino hits from his 20 year career) in this new set (now on Blu-ray) through these links:

True Romance (1993) [The Quentin Tarantino Cut]

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Reservoir Dogs (1992)

"Are you gonna bark all day, little doggie, or are you gonna bite?"

Reservoir Dogs (1992) is Quentin Tarantino's breakout hit, a stylish heist movie. The story revolves around a diamond robbery with an undercover cop and the madness that follows.

I love the camerawork in Reservoir Dogs it's very simple and effective and one of the things that really sets this film apart from other indie or low budget films.

I also like how simple and stylish the film is. The 70s music is a very nice and memorable touch. Costumes are again simple and stylish and yet it's something probably all the actors just had. And the color names are a great idea (a la The Taking of Pelham One Two Three [1974]) that also just adds an extra level of cool to the film. Indie filmmakers could (and do) learn a lot from this film.

I've seen this film many times, one of the things I often find myself asking at the end is "what the hell was the point of Mr. Blue?!" And to this day I think the film could be just as good without him, he doesn't do anything at all. It's possible he's there just to add to the death count or to show that how dangerous theft and robbery is or that it isn't always profitable (though you'd think the end would show that?) But really he's just kind of there. In a film like this with many characters, why add one more who doesn't do anything?

One of my favorite things about this movie is how simple the idea for the story is. It's a heist film (like you've seen a million times before) except with two main differences, it's told out of order (non-chronological) and with out ever showing the actual heist.

The non-linear storytelling (a precedent for most Tarantino films that follow) is really ingeniously done. I've heard many people use this film as an example of a non 3-act film but that's completely wrong. This film actually still follows the 3-act storytelling structure, it just does it without going in order. The scenes are revealed in a chapter by chapter method basing each chapter around a different main character's story specifically, and then the layout of these chapters (which comes first) is setup in the order so that for the first half of the film the viewer is trying to figure out who the undercover mole is, and the second half of the film explains how that came to be and then the conclusion. This is a really well thought out way to tell a story and I think it just works perfectly.

The film has a really great ensemble cast. Tarantino chose a selection of great actors who were almost unknowns at the time each of them (except Harvey Keitel of course) had a couple hits each but were on the cusp of really blowing up. I particularly really enjoy the performances of Michael Madsen as the cool but hard to nail down Mr. Blonde, Harvey Keitel as the robber with a heart Mr. White, Steve Buscemi as the comically freaked out Mr. Pink and Tim Roth who has the very difficult but convincing role of Mr. Orange. There's some really great performances in this movie. And I like how each of the character's is written so that they really seem like real people. They have strong enough personalities (and actors) that you really don't have any problem telling them apart, even though they're dressed the same and don't have real names.

And lastly I want to mention that this movie just has a lot of really interesting and simple little things it does. For example, I like how the music that's playing dies down when Mr. Blonde goes outside the warehouse to get a can of gasoline from his car and then climbs up again as he returns. And I love how during the "commode story" seamlessly cuts between 3 (or so) times this story is being told and then ends in a literal showing of the events in the story that really makes you feel the suspense of the scene.

Reservoir Dogs (1992) is a stylish well thought-out film that borrows from a lot of movies you've seen before, but puts them together in a way so genius you're going to wish you thought of it. And it's an amazing example of how you can make a great film and tell a simple story on a small independent budget. 5/5 Stars.

Happy watching!

Check out this original minimalist poster design I did for this film, click through to buy prints/posters etc. OR check out other movie posters I designed here. :)

Want more Tarantino goodness? Check back all month for my Tribute to Tarantino in honor of his latest film Django Unchained.



Like this blog? You can support it by buying this film (and 8 other Tarantino hits from his 20 year career) in this new set (now on Blu-ray) through these links:

Django Unchained (2012)

"The 'D' is silent, hillbilly."

Django Unchained (2012) is Quentin Tarantino's legendary revenge tale epic that's a tribute to the spaghetti westerns of the past, especially the work of Sergio Corbucci and Sergio Leone. Django Unchained tells the story of a slave named Django who is freed and becomes a bounty hunter in order to save his wife who is also a slave living in bondage.

First off I gotta mention the cinematography of this film. Tarantino's been shooting films like they were spaghetti westerns for a while now, but this is the film that he can really show off his technical knowledge for how those films are made, and he really nails it. It's a blast to watch and adds an extra level of enjoyment if you know what you're looking at!

Not all the cameos in this film are good (more on that later) but there's a cameo for Franco Nero, who originally played the title character in the classic spaghetti western Django (1966), that I really enjoyed. It's not intrusive, it's not too distracting and it makes sense in the story. It's very natural, and those who know who he is get a laugh out of it.

I usually don't find the way that Quentin Tarantino writes dialogue or the excess blood in his squib shots too distracting, but I have to say that they seemed a little out of place in this film. I understand these are directorial flairs and the film isn't meant to be a strict historical portrayal but I still found them more distracting than in most of his other films. Not entirely though, I like how both the excess gore and his quirky dialogue are used for humor primarily. I just think it's a fine line and this film doesn't walk that line as well as possible, but it's excusable for how well it does work (more hits than misses).

The second half of the film is a lot longer than the first half, or I should say it feels a lot longer. This is because almost an hour before the actual end the film, the story is pretty close to wrapping up entirely. I'm surprised this occurred, and I think that the reason it's so jarring is just because of how close the story comes to actually wrapping up nicely (before it all going to hell). This leaves some awkward pacing but if you watch spaghetti westerns you know that pacing is not something that those films did well, so part of me actually wonders if this was actually intentional? Also because I personally have see all of Tarantino's films, I knew that there was no way he could end the story as cleanly and nicely as it was about to end, so I actually (believe it or not) found some added suspense in trying to figure out what the hell was about to go wrong. I understand that a viewer who hasn't seen a lot of Tarantino films wouldn't have that same experience, but I really doubt I'm the only one who felt that way.

I also have to mention that I felt the amount of cameos in this film were really distracting. I literally rolled my eyes at Quentin's cameo when he came on screen, luckily his cameo (and his accent) isn't as bad as it was in Death Proof (2007), but I also have to question the inclusion of Zoë Bell in this one. She appears in a group of (male) plantation overseers, with a red scarf over her face! On top of that there's at least two close ups on her and the first one is even played like "pay attention, this person's going to do something later!" and then she just gets shot in the end like all the other overseers! Maybe she actually did something in a cutscene, and I understand the need to put a friend or collaborator in as a cameo but two shots for someone who is distracting (I highly doubt there was any female overseers 2 years before the civil war) and doesn't do anything, so there's absolutely no need to put two close ups in the film.

Okay so this last part is nitpick/preference but I would have put more in the story about (Django's freer and bounty hunting partner) Dr. King Shultz. There seems to be a part missing when later in the film it's revealed that a major flaw of his is that he's a big-time sore loser. I would have liked to see at least some hint of this earlier in the film. Also was there was some interesting scenes earlier in the film that made me think they were actually going to go deeper into the morality of killing for a living, but the film didn't follow up. It just kind of stops mid-thought on "well these are bad men so it's alright." I would have like to see Shultz talk about what drove him in to this peculiar profession or even why he felt he'd be decent at it.

Tarantino's been doing this violence/humor thing for a while, and it's safe to say he's gotten quite good at it. This is a very dark and violent story but you will find yourself laughing at things that are not actually things to laugh at! This takes a high degree of skill, and actually kind of blows my mind at how well it is executed.

Tarantino's known for his soundtracks, by now it's something you can look forward to in his films. The soundtrack for this film is unique in that historically Tarantino usually doesn't use original music produced for his films in his films (except a bit of RZA and Robert Rodriguez's work in Kill Bill). This film just shows that he can blend new and old music together in a very seamless way (as if you really had any doubt) but this film blends them together better than probably any other films do. The film still offers the tributes to (while reinventing) older music and soundtracks that Tarantino is known for, but also adds new music that somehow fits really perfectly withe he old stuff. All the while somehow the film keeps that unique spaghetti western feel to the soundtrack that is so crucial to those films. I definitely reccomend going out to buy this soundtrack.

But what I really appreciate about Quentin Tarantino is how inventive and creative he is. You can see it in all of his work, he doesn't settle for the standard way that film and stories are told. Sometimes he's not as successful as others but at least he's pushing the boundaries and you can actually see him trying new things in each film. Django Unchained is another fine example of that creative filmmaking that I love so much, even down to something so simple as using a mashup in a film soundtrack (mashup's are a big thing in music right now, how come no one uses them in films?!). I really like how the Tarantino doesn't pull any punches and in showing the graphic nature of daily life during this time. He puts in scenes that really even trump the horror you were expecting to see walking into this film. For example, the "mandingo wrestling" scene is absolutely gruesome and very tough to stomach, and yet it makes the perfect introduction to the resident "devil" of the film, Calvin Candie. A very bold and yet effective move.

Here's another film where I have to mention how good the actors were in it. The whole cast was good actually, but I need to mention Christoph Waltz as the quirky German dentist-turned-bounty hunter Dr. King Shultz, Samuel L. Jackson as the crotchety head house slave Stephen, and the very evil and menacing (and yet kind of dumb) Calvin Candie played by the truly great Leonardo DiCaprio. All of these actors really bring something special to their respective roles that really makes the film magical to watch. Yet none of these roles are too far out or that different than other things you've seen them play before, which actually adds a lot to the feel that these roles are actually perfect for these actors.

The last thing I absolutely have to mention is the story. I loved the story of Django Unchained. Tarantino paints a modern legend of a hero mixing spaghetti western & blaxploitation. This is something that throughout history storytelling has really been all about, but somehow we've seemed to lose that in recent times. What I love about this film is it fits that ancient archetype and yet it feels really fresh and new. Some of this is by using things and nods from other films, and not only spaghetti westerns but even little things like Django and Shultz's team-up/friendship really has it's own Butch and Sundance vibe to it. The film even seems to refuse to fall on to simple hero clichés like crapier hero tales we see in film today *cough*Tron: Legacy (2010)*cough*, Djano's journey really feels like he walked through fire and back to get what he wants by the end of the story, and there's nothing more satisfying in a story that that feeling.

Even the little nitpicky things I found with Django Unchained (2012) can't touch a film as entertaining and well crafted as this. There's probably only a few movies in a person's lifetime that are as good as both a tribute and a tale as Django Unchained. 5/5 Stars.

Happy watching!





Check out this original minimalist poster design I did for this film, click through to buy prints/posters etc. OR check out other movie posters I designed here. :)

Want more Tarantino goodness? Check back all month for my Tribute to Tarantino! I'm going to begin by running through his films starting from the beginning, so be sure to check back!



Like this blog? You can support it by buying this film through these links: