January 20, For years now, academia has backed up this notion in numerous film schools around the world and in countless books that explore the aesthetics of cinema.
The project was an ode to a bygone era from their youth, where cheesy genre and exploitation films where shown on a double bill in cheap art-house theatres. As the megaplex and the blockbuster rose to prominence, both the double feature and the grindhouse tradition fell to the wayside. Because this kind of cinema had so profoundly influenced the styles and careers of both Tarantino and Rodriguez, they felt compelled to keep the grindhouse tradition alive.
So plans were hatched for each director to make a feature typical of the low-budget cheese that held such a special place in their hearts, with the aim to Quentin tarantino adventures in postmodern both films together as one big experience. They even went so far as to include fake trailers for other, nonexistent films shot by like-minded directors such as Eli Roth and Rob Zombie, to name a few.
The reward for their all that hard work and passion? Widespread disappointment and failure. I went to the opening day screening with a college buddy of mine, and a great deal of excitement—we both knew what to expect and were looking forward to 4 hours of trashy fun.
An usher stood up in front of the audience and announced that the film we were about to watch ran for almost four hours. The bros in front of us, who had obviously not done their homework, immediately balked.
Initially designed to allow stuntmen to walk away without a scratch after Quentin tarantino adventures in postmodern their daredevil feats, Stuntman Mike now uses this car to stalk and kill hapless young women. The story is divided into two acts.
In the first, a group of girls, led by a sassy, Amazon queen and radio host named Jungle Julia Sydney Tamiia Poitierare en route to a lakeside cabin vacation for the weekend.
They stop off at a local Austin dive for some drinks, where they meet and ultimately fall victim to Stuntman Mike. Mostly available now in its longer form on home video, DEATH PROOF can be a bloated film prone to long stretches of dialogue that subverts the very nature of the type of film its trying to be.
Kurt Russell is perfect as the deceptively disarming Stuntman Mike. Firmly ensconced in middle age, Russell is in the perfect window to benefit from the Tarantino Effect, and like John Travolta or Robert Foster before him, he saw his celebrity rise in the wake of his devious performance.
I could watch him play the role all day.
Feb 17, · No copyright intended. Looking at film references and postmodern elements in Quentin Tarantino's film Inglourious Basterds. I . Quentin Tarantino’s “Death Proof” () The series of collaborations between directors Quentin Tarantino and Robert Rodriguez reached their apex in with the release of GRINDHOUSE. The project was an ode to a bygone era from their youth, where cheesy genre and exploitation films where shown on a double bill in cheap art-house theatres. Sep 10, · Quentin Tarantino proves that he is the master of witty dialogue and a fast plot that doesn't allow the viewer a moment of boredom or rest. From the story of two hit-man on a job, to a fixed boxing match to a date between a /10(M).
To help her get into character, Tarantino reportedly told Poitier that Jungle Julia is to music as what Tarantino is to film. The second half is comprised of an even livelier cast than the first.
They all work in various positions in the film industry as actresses, makeup, and stuntwomen. Rosario Dawson plays Abernathy, the sassy, sensible member of the group. Mary Elizabeth Winstead plays Lee, the dainty, feminine actress in a cheerleader outfit.
Tracie Thoms comes off as the female Samuel L. Jackson in her performance as feisty stunt-driver Kim. For a stuntwoman, she has a remarkably charismatic screen presence that allows the audience a window into the story.
Rounding out the supporting cast are a few familiar faces.
For the first time in his career, Tarantino takes a stab at being the Director of Photography, which works out pretty damn well. Having taken a film class or two, I know firsthand how difficult it is to light for, expose, and shoot actual celluloid film. Despite never receiving a formal education in this arena, Tarantino pulls off the feat effortlessly.
It also probably helps that the film is supposed to look junky and battered. Shot in the 2.
The colors are burnt-out, with a strong magenta cast that suggests the fading that comes from storing film in improper conditions. Menke—one of the greatest editors to have ever lived—does a great job emulating an amateur hack job with dropped frames, jumpy edits, and repeated takes. Strangely enough, both Menke and Tarantino are fully committed to this stylistic conceit during the first half, only to all but abandon it for a cleaner, clearer approach in the second half.
In terms of the cinematography, Tarantino lenses the film in a way that stays consistent with his earlier work. When shooting close-ups, he tends to show his characters in profile instead of the standard over-the-shoulder composition.
His restraint pays off when the film abruptly changes gears and becomes a breathless car chase. Once again, Tarantino rescues a handful of excellent songs from obscurity and pairs them with the visuals in such a way that one can never be disassociated from the other ever again.
This is most likely because it is by far his most indulgent film, where all his signature techniques and tropes are cranked up to eleven. Tarantino fans will undoubtedly enjoy discovering each hidden reference, but for the casual viewer, this all might fly right over their heads.
For a lot of directors, creating an overly-indulgent film can have career-wrecking consequences, but by getting it all out of his system in DEATH PROOF, Tarantino is able to clear the way for new ideas and concepts that will elevate him even further into the pantheon of great directors.
Quentin Tarantino Director of Photography: Quentin Tarantino Production Designer:The career of Quentin Tarantino instantly became the stuff of Hollywood legend, thanks to winning an Oscar, Golden Globe and numerous critics' awards for Best Original Screenplay for the groundbreaking and much-imitated "Pulp Fiction" ().
Sep 10, · Quentin Tarantino proves that he is the master of witty dialogue and a fast plot that doesn't allow the viewer a moment of boredom or rest. From the story of two hit-man on a job, to a fixed boxing match to a date between a /10(M). Quentin Tarantino: Well, you know if you're going to make a movie about slavery and are taking a 21st-century viewer and putting them in that time period, you're going to hear some things that are.
Quentin Tarantino. Runtime: 2 hrs 17 mins. CONTRACT KILLER: ZOMBIES Nov 19, by Glu Mobile Inc. Free Available instantly on compatible devices. out of 5 stars 1, Rise and Kill First: The Secret History of Israel's Targeted Assassinations Jan 30, by Ronen Bergman.
Feb 17, · No copyright intended. Looking at film references and postmodern elements in Quentin Tarantino's film Inglourious Basterds. I . If Quentin Tarantino is the Energizer Bunny of moviemakers, in this second installment of his Wagnerian revenge pastiche -- a film richer in every way than its illustrious, callow predecessor -- he has plugged back into depth of feeling and matched "Pulp Fiction" stride for stride.