“Kill Bill” looked and sounded different from his previous films, and pop culture took notice, instantly absorbing its ideas — and waiting another six months to see how it ended. OG: As a historical jamboree about the hideousness of white supremacy, Tarantinos’s slave drama is a subversive triumph, but as storytelling I think it’s a mixed bag. From the opening scene, in which Tim Roth and Amanda Plummer spend four minutes making plans before sticking up an L.A. diner, “Pulp Fiction” invites audiences to recognize that they are watching a Movie. Yet if “Death Proof” were nothing more than a revel in cheap thrills, it might not add up to much. This is the closest thing Quentin has made to a hang-out movie, and it’s a funny and captivating one, never more so than when Margot Robbie’s Sharon Tate goes to a matinee to see herself on screen. He first began his career in the late 1980s by directing, writing, and starring in the black-and-white My Best Friend's Birthday, a partially lost amateur short film which was never officially released. And every scene of his gripping first feature makes good on that promise. To its credit, “Volume 2” transforms the Bride from a one-dimensional Bill-killing machine. Here, his references include Eastern kung fu and crime films, an extended Brian De Palma riff (the Darryl Hannah hospital sequence) and a key flashback presented as anime. In the history of cinema, has any director done more to elevate the idea of movies as cool than Quentin Tarantino? By resisting gratuitous degradation — and at last revealing its heroine’s motives and backstory — the project improves upon the kind of elle-driven exploitation movies that inspired it, celebrating Thurman’s strong star persona without objectifying her (overly). Variety's critics rank all of Quentin Tarantino's films from "Pulp Fiction" and "Reservoir Dogs" to "Once Upon a Time" in Hollywood. With “Pulp Fiction,” Tarantino breathed fresh life into Bruce Willis’ and John Travolta’s careers, but there was something far more daring (by the industry’s sexist, racist standards) about showing the same reverence toward an actress known primarily for blaxploitation movies — buxom, low-brow diversions with titles like “The Big Bird Cage” and “Sheba, Baby.” Fittingly enough, “Jackie Brown” is the one Tarantino movie with soul, hinging on a romantic connection between a desperate flight attendant (Grier) and the bail bondsman (Robert Forster) who helps her rip off her gun-running boss (Samuel L. Jackson). Director: Quentin Tarantino | Stars: Uma Thurman, David Carradine, Michael Madsen, Daryl Hannah. OG: Tarantino plugs deep into the movie and TV industry of Los Angeles in 1969, when the fading embers of the studio system mingled with the hipster vibe of the New Hollywood, when the rise of spangly fashion and Top 40 made the world glow and the hidden presence of Charles Manson made it tremble, and when a has-been TV star like Rick Dalton (Leonardo DiCaprio) could chuck it all to make a spaghetti Western, with trusty stuntman Cliff Booth (Brad Pitt) at his side. With nine features to his name (Tarantino counts “Kill Bill Vol. (Movie) - Presenter (Quentin Tarantino presents) Ying xiong : 2002 (Movie) - Presenter (Quentin Tarantino presents) All the Love You Cannes! … PD: These days, audiences are accustomed to the long wait between Tarantino movies, but back in 2003, a delay of six years was enough to make us worried: Had Quentin lost his mojo? OG: Where “Volume 1” was a trash-movie epiphany, this one feels more like an overstuffed trash compactor, with individual great moments — especially when the wizened martial-arts master Pai Mei (Gordon Liu) tutors Uma Thurman’s Bride — but with too much filler gluing them together. Quentin Tarantino, Writer: Reservoir Dogs. Tarantino grew fixated on the film’s 70mm cinematography, but that has to go down as an irony of film history, since the visual “largeness” is lavished on a single claustrophobically gloomy set, resulting in what feels like the world’s most lavish episode of “Gunsmoke.”.