Quentin Tarantino Movies: Ranking His Every Movie

Quentin Tarantino has been one of America’s most notorious and divisive filmmakers. Drawing from an uncanny well of knowledge, Tarantino went from a screenwriter to a director with a voice and style all his own despite spawning a plenitude of imitators. While some just saw Tarantino’s pictures as nothing but badinage and violence, his pictures constantly have further on their minds regarding observation, consequence, morality, and civilization. He may go for a laugh in times of war and slavery, but his flicks have veritably real stakes and a deep investment in their characters no matter how monstrous that character might be.

1. Pulp Fiction |Quentin Tarantino movies 

it’s an egregious choice. 1, but it’s egregious for a reason. Only a sprinkle of pictures in history stands as dividing lines demarking one generation from another, and Pulp fabrication is one of them. The crime escapade made film geeks into gemstone stars and dialogue-heavy scenarios into gold, made nonlinear liar de rigueur and spawned so numerous imitators that it’s virtually a kidney unto itself. It’s the defining film of the ’90s, yet it doesn’t feel wedged there or in any other particular place and time. By consuming, blending and projecting outward every crazy-cool influence swirling in his hypercaffeinated head – from the French New Wave to obscure kung-fu pictures to Saturday Night Fever – Tarantino managed to make a piece of timeless, immortal cool himself, and it'll remain cool from now until the sun explodes

2. Once Upon a time in Hollywood | Quentin Tarantino movies 

 It seems odd to say about a movie that ends with someone being burned alive with a flamethrower, but this is Tarantino’s quietest and most pensive film. It’s also his most particular. All Quentin Tarantino pictures are eventually about the numerous fetishes and prepossessions of Quentin Tarantino, but this is about the stuff that matters to him the Los Angeles of his youth. As the title implies, however, this is a puck tale of a world where the Manson Family murders in no way be a world. It’s not literal revisionism. For Tarantino, it’s major preservation.

3. Jackie Brown |Quentin Tarantino movies

 In numerous ways, Jackie Brown feels the least like a Tarantino film – and for some, that makes it low- crucial to his stylish. Acclimated from the Elmore Leonard new Rum Punch, it’s the only film he didn’t conceive entirely on his own, so the relative lack of Taratinoisms is kindly by design. The narrative moves in a straight line, the utmost of the dialogue is plot-driven, and the mood is mellow skirting on the gravestone. utmost of all, with the director’s quiddities taking a backseat, it’s his most actorly film, which is saying commodity. Pam Grier is vermouth-smooth as its heroine, a flight attendant moonlighting as a runner for ruthless arms dealer Ordell Robbie (Samuel L Jackson at his most Sam Jackson- y)

4. Kill Bill Vol 1 |Quentin Tarantino movies 

Ever ahead of the wind, Tarantino got into the two-part business long before Hollywood embraced it. Formerly again, the filmmaker has one eye on cult classics of history – in this case, Toshiya Fujita’s 1973 exploitation film Lady Snow Blood, from which Volume 1 borrows its snowy brand fight. Despite demanding to do the heavy lifting of setting up The Bride’s (Una Thurman) hunt for vengeance against the partner (David Carradine) who tried to kill her, it’s the more memorable of the two flicks – and the Crazy 88 scene is its zenith. 

5. Inglorious basterds |Quentin Tarantino movies

For the first part of his career, Tarantino birled in delivering forgotten stars from the tip of history. While presumably a Jewish vengeance fantasy, what it’s really about, as usual, is the fantasies of Quentin Tarantino – after all, this is a movie where cinema itself saves the world from Nazism. ‘I suppose this might be my masterpiece,’ says Brad Pitt’s American Nat- see huntsman Aldo Raine at the film’s end, but we all know who he’s speaking for. We wouldn’t go that far, but there are some bang-up individual moments, including the notorious opening scene with Christoph Waltz menacing a French planter hiding a Jewish family under his floorboards. 

6. Kill Bill Vol 2 |Quentin Tarantino movies 

Sticklers argue that this is the more complete film of the doulogy, but the verity is that Kill Bill Volume 2 boasts superior dialogue and a more advanced plot. Rather than the tea house brand slayings, anime sequences and The Pussy Wagon, then we've eye-gougings, pall breakouts, and David Carradine – all great, just not relatively as maniacally delightful. And the spaghetti western homilies – a core point of Tarantino flicks henceforth – were noway as vibrant as the wild Japanophilia of the first entry.

7. The Hateful Eight |Quentin Tarantino movies 

Blood gushes from every corner of this homage to the classic television western, an intricate whodunnit of feathers that plays out like a story Agatha Christie might have penned after a couple of bootlegs. Its roadshow release was a time machine to moviegoing’s glory days, with 70 mm protuberance and an interruption that, boy, did it need to break up three hours of Kurt Russell, Jennifer Jason Leigh, Tim Roth, Bruce Dern and other salty, glint- eyed gunslingers yakking and shooting. Not that it’s a dull lift – it noway is with Tarantino – but the claustrophobic setting and Ennio Morricone’s foreboding score can’t keep the sense of tone- indulgence at bay.

8. Django unchained |Quentin Tarantino movies

Give Tarantino credit for audacity. Imagine any other high-profile white director pitching a mashed-up spaghetti western and blaxploitation film about a Black man in the Antebellum South exacting ultra-violent vengeance against the people who formerly enslaved him and getting to make it. But the sheer audacity of its actuality can’t excuse Django Unchained from its major problems – videlicet, that it’s too cool for its good. As with Inglourious Basterds, Tarantino wants to offer a marginalised group an extreme form of catharsis, but all his aesthetic trademarks– the cartoonish violence, the hipsterism soundtrack, and the quippy dialogue – only serve to trivialise an atrocity, turning major suffering into blockbuster entertainment. It's exploitation cinema that borders on being exploitative

9. Death Proof |Quentin Tarantino movies 

Grindhouse packaged two one-hour B- pictures by Robert Rodriguez and Quentin Tarantino as a single product – a brilliant idea, but it didn’t stick the wharf at the box office. Zombie rollick Planet Terror (Rodriguez) and carsploitation film Death Evidence (Tarantino) were reassembled as individual features, important to each work’s detriment. Still, Death evidence has plenitude to love gnarly auto violence; a soundtrack that mixes The Shirelles, Jack Nitzsche and Dave Dee, Dozy, Beaky, Mick & Tich; and a cast that includes Rosario Dawson and resurgent’80s action star Kurt Russell, who’s in wicked form as a murderous, nachos- gorging truck motorist.