Afterthought: that main theme by 'Il Maestro, Ennio Morricone, is still going though my head…so haunting…
I’m no fan of that spaghetti stealer either.
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I just don’t understand the insistence on certain words, Profanity, ‘N’ words, …
Don’t get me wrongI ‘Hateful Eight’ is a beauty…BUT: take out the profanity! Call me a prude if you will (and I will call you a ‘Prune’).
No need for the profanity; in fact, ‘Hateful Eight’ plays a wee bit like an Agatha Christie…‘who dunnit, eh. chappies’ (for further reference, check out Tim Roth).
I’m glad that some one else can see it!
Hi. Dean!
Yeah!! I see it, and I’ve never understood the love of ‘Tarentino’…is it the violence, the profanity…what is it??
Perhaps…at some stage - in the future - a ‘Tarantino’ fan will explain to us…Why the flirtation with ‘N’ words, foul language, profanity, and gut-churning violence, is a turn on…
I don’t get why Tarantino needs to lift so much from spaghetti westerns. Being inspired by these films is great, but he takes the piss a bit don’t you think?
The amount of times I look up some spaghetti music on YouTube and see comments about how it’s from a particular Tarantino film, and I’m like “He took this one ASWELL??” 
‘THE SILENT STRANGER’ (‘The Stranger in Japan’) -Tony Anthony.
Already being a fan of the first two ‘Stranger’ films, I watched this one last night, for the first time, ever, and greatly enjoyed it. The DVD copy, bought from Amazon.Germany, did not have the best picture quality; but, even so, it was a very enjoyable way to pass the time.
Being a fan of the Tony Anthony ‘Stranger’ character - and a fan of Japanese/Samurai films (Kurosawa, Mifune etc) - I thought that the combination of ‘Wild West’ meets ‘Asian Culture’, was a well-conceived one.
I’m not sure where this, the third ‘Stranger’ fits in yet, compared to the first two…I shall probably need to give it another viewing or two…However, I was certainly not disappointed, and think that all three have worthwhile merits of their own.
Apparently he’s retiring after two more films.
He’ll be deciding which, plots, characters, scenes and music to take as we speak
Oh sorry; “reference”.
There are 2 Tarantinos in the world. One who created several cinematic masterpieces with bold narratives, excellnt dialogues and some great directing (Pulp Fiction, Kill Bill, Inglorious Basterds and more) ,and one who seems to be a mindless thief of others ideas.
So far I never came across one movie of the second one (I’ve only read about him), but I’m sure he must exist in some other universe …
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Yes indeed; Stanton’s Tarantino mk.2 - the mindless thief - certainly exists in a different universe than mine, too. All I see is an incredibly inventive director. I’ll concede that I’m more appreciative of his nineties output than his 21st century work to date but nevertheless, I haven’t (yet) seen a QT film I didn’t like and he remains my personal favourite director.
Just my opinion and of course, everyone’s is different.
My preference:
- Pulp Fiction (1994)
-
Reservoir Dogs (1992)
(Natural Born Killers) - Kill Bill (2003)
-
Jackie Brown (1997)
(True Romance) - Death Proof (2007)
- The Hateful Eight (2015)
- Inglourious Basterds (2009)
-
Django Unchained (2012)
(Four Rooms)
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Of course …
The only Tarantino films I hold in high regard are the first three and I consider Jackie Brown to be his best.
I need a “Tarantino” fix!..Think i’ll watch both -Reservoir Dogs and Pulp Fiction tonight, i;ve got the time.
I think there were couple of guys named Sergio that lifted/‘lifted’ at least equal if not larger amount of ideas from a guy named Akira than this second Quentin has lifted from them, but stop me if you’ve heard that one before…
But Leone and QT belong in the same category. Like Peckinpah, like Kubrick, like Melville and a few others.
And yes, it is quite funny that on a Spag board people complain about other directors stealing from others. The funding film of the sub-genre was more or less completely stolen, and most of the other SWs stole from that one and from other films of the master-thief.
When Howard Hawks was once asked what he thinks about Peter Bogdanovich stealing from his films, he answered that he also stole a lot, but unlike Bogdanovich he never told others about that.
Death Proof is excellent (well nearly), and better than every Leone apart from GBU and OUTW.
Whatever Django Unchained may be, it is not a typical Hollywood movie.
QT does not need to understand Leonard, cause he makes QT films and not Leonard films.
And Kill Bill is so good because it is that long. Otherwise there wouldn’t be much room for all those brilliant ideas.
His last 2 film are less interesting for me, but they still have their moments.
And Leone’s 2 peplum films may not be utter shit, but are way belong the weakest QT film.
Just hope QT lives up to his promise that he is not going to make many more films.
You never know, maybe he’ll switch to Woody Allen mode: one movie every year.
If the drop of quality since IB (the incredible masterpiece) goes on, I can live with that.
THE MAGNIFICENT SEVEN (2016, Antoine Fuqua)
I liked it a lot better than I thought I would. At the same time I don’t think I will want to rewatch it again in the near future. It’s quite violent, but otherwise it has a real ‘blockbuster feel’. Stylistically it’s more 80s and 90s than 60s (it reminded me a little of Tombstone and - even more so - Silverado). It’s a politically correct action movie, with a black lead, an Asian and an Indian (or should I say Native American) among the Seven, a strong feeling of community and some criticism of capitalism as well.
The film is well-cast and the characters are all well-drawn. Washington’s okay, but I thought some others (notably Chris Pratt and Ethan Hawke) had more interesting roles. Vincent D’Onofrio is fun as a Brother Tuck-like member of the bunch. The action scenes are allright, but the final battle, the defense of the town by the Seven & the townspeople, goes on way too long.