Counting down the best scenes from Quentin Tarantino movies
Photo: Miramax Quentin Tarantino makes one hell of a first impression. His debut film Reservoir Dogs begins with his own voice on the soundtrack, delivering a well-thought-out, colorfully profane analysis of the Madonna song “Like a Virgin.
After several tense moments of tracking Butch through overgrown vacant lots, Tarantino shows the boxer arriving at a seemingly empty apartment, grabbing his watch, and … deciding to throw an imitation Pop-Tart into the toaster. While the audience is still squirming in their seats — like the crowd at a horror movie, yelling at the screen, “Get out of the house!” — Butch notices a big gun on the kitchen counter.
What’s so delightful about the F.B.I. scene in Hollywood, though, is how DiCaprio and Pitt seem to improvise an entire half-drunken commentary about Rick’s episode, sounding every bit like two longtime best buds as they mutter over the action about which actor was “an asshole” and how cool Dalton looks as a wild-eyed maniac. MeTV should get Leo and Brad to audibly annotate any old show that Rick Dalton could’ve been in. It’d be a ratings bonanza.
Aldo believes bad people should bear the mark of who they really are, which is a common opinion of Tarantino characters. Meanwhile Hans, a stooge in an authoritarian regime, is certain Raine will be executed for his impertinence. Aldo just shrugs: “Nah, more like chewed out. I’ve been chewed out before.” The lieutenant’s world-weary cocksureness — not to mention Tarantino’s — is enough to make a person proud to be an American.
First, Lee boasts about how he could beat Muhammad Ali, which makes Booth laugh, which in turn provokes Lee into the challenge. The martial artist takes round one easily, then the stuntman flings Bruce into a car in round two. Round three goes unfinished, because the husband-and-wife stunt coordinators kick Cliff off the set.
Jackson has been in more Tarantino films than any other leading actor, and he’s been outstanding in all of them. But he brings a rare gusto to this scene, with a gleam in his eye as Marquis tries to troll an old racist. The major paints the picture so vividly — as someone nearby plunks out an out-of-tune rendition of “Silent Night” on the piano and snow occasionally shakes through cracks in the roof of Minnie’s Haberdashery — that the anecdote begins to come to life. And unlike Dr.
But after a break in his trailer — and more solo rehearsal, with the help of his tape recorder — Dalton comes back onset and absolutely nails his character’s big villainous moment. With that same child actor on his lap, Rick doesn’t just hit all his marks — he delivers the bad guy’s threats with a menace that’s genuinely edgy and frightening.
He ends part one with a spectacular standoff, wherein Uma Thurman’s Beatrix Kiddo gets even with her traitorous former colleague, O-Ren Ishii , after slashing her way through several dozen of O-Ren’s masked henchfolk with a samurai sword, while the soundtrack bops between multiple high-energy rock songs. Colorful, gory, and kinetic, the 15-minute fight scene in the House of Blue Leaves restaurant is like a trash-cinema mixtape.
The heroes try to be aloof but polite — even playing a round of a celebrity-guessing game — but the real Germans can sense something’s off with the new arrivals, especially when the Brit raises the wrong fingers to order whiskey. Inevitably, the scene ends with guns blazing and a bar full of dead soldiers.
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