![]() The Hateful Eight takes a cue from another of Morricone’s iconic spaghetti western-Sergio Corbucci’s The Great Silence-not only in its snow-swept landscape but in the rotten individuals populating it. The legendary Italian composer had worked in some of his all-time favorite films, most notably Sergio Leone’s Dollars Trilogy and Once Upon a Time in the West. Having Ennio Morricone score his Western surely must have been a dream come true for Tarantino. It’s only right that a Hollywood prop car rather than a knife or gun serves as the deadly weapon of choice for Tarantino’s quintessential slasher villain-Mike McKay-a deranged stunt double who preys on women and lures them into his four-wheeled killing machine.Īll in all, it’s hard not to appreciate Death Proof for what it is-a heartfelt passion project disguised as a frivolous schlock-fest. Accordingly, the figure of stuntmen acquires a quasi-mythological status here-an admiration that would carry over on to his latest movie in the form of Cliff Booth. Nostalgia proves to be the driving force behind the whole story-mainly towards the long-gone era of practical effects, where real people used to put their lives on the line to perform the same action scenes that are nowadays rendered digitally. Originally conceived as a double-header to be screened along Robert Rodriguez’s Planet Terror, the film itself is both a homage and attempt at reviving the sleazy, underground theatrical experience of old. As a love-letter to the grindhouse and low-budget exploitation movies that the director himself devoured as a teen, Death Proof hits all the right notes. ![]() Though it may rank dead last in this list, that’s not to say there isn’t much to love with his high-octane thriller. It’s hard not to agree with Tarantino’s self-assessment here. ![]() But if that’s the worst I ever get, I’m good.” “Death Proof has to be the worst movie I ever made. But as we bide our time until he delivers his final blow, let’s take a trip down memory lane and go over all of his films to date. Only time will tell whether Tarantino follows through on his promise or not. Unapologetically indulgent and openly self-aware-even at the expense of character depth-they soon became an entry point for millions of young viewers to the vast world of non-commercial cinema.įor ages, the director has vowed to throw in the towel once he reaches the tenfold of movies, which leaves us with one last rodeo (presuming he conceives Kill Bill as one film rather than two). His films seem to be in open rebellion with conventional storytelling, deliberately designed to defy and mock every label and trope. Overnight, he became the closest thing to a rock star the industry had, an exciting new voice who made of every new movie a mandatory appointment at the big screen. Arguably no director filled that void as much as Tarantino, a certified film nerd who wore his geeky persona as a badge of honor. At the turn of the millennium, the New American Wave of the 70’s was nothing but a distant memory for a whole generation who grew up binge-watching MTV and browsing shelves at Blockbuster. To this day, he still remains the best success story in all Hollywood-a self-taught video-store clerk who took the world by storm and became the poster boy for independent cinema. Quentin Tarantino is a tentpole in his own right, a brand and genre all by himself. Throughout his 30-year long career, his work has been scrutinized, chewed-over and mass-consumed as much as that of any modern director. Unconditionally worshipped by many, arduously hated by others-if there’s a constant with Tarantino is that he leaves no one indifferent. ![]()
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