NO.10: Dangerous Relationships
Large lines, intricate character relationships, a large number of narrative preparations in the early stages of the desire to suppress the first, staggered narrative timelines, etc. are typical of Quentin's film style. The first half is a little slower, but perhaps this kind of preparation can support the fast-paced reversal of the last hour. It's more verbose, but Quentin's personal style is still interesting here.
NO.9: "King Kong is not bad"
Quentin's charm is that he does not use a long story to say a thing, he wants to express the current skin color discrimination of the film, etc., a few words and a few shots, can be expressed. A relatively simple movie. It can be so long. I began to understand what the aesthetics of violence were all about. It's the most focused chase scene I've ever seen, like a game, so good.
NO.8: Kill Bill 2
The director's understanding of cologne is quite profound, which is very rare among foreigners. In Quentin's films, the change of music represents a high-energy warning ahead. His grasp of the details is fascinating. The first black mamba learned kendo from the Japanese master and then killed the hundred-step snake; the second part learned Chinese kung fu from the Guangdong master, and then killed Bill. The ins and outs of the matter are finally clear.
NO.7: Kill Bill
The first time to understand the katana so deeply, it turned out to be in Quentin's movie, the essential meaning of the author's film is to make the author addicted, Quentin is undoubtedly playing hi, all kinds of elements are at your fingertips, and the violent aesthetic is really enjoyable! On the importance of a good weapon, cutting iron like mud, a knife. There is no plot in this one, but the fight is really exciting.
NO.6: Sin City
Personally, I like the black violence work very much, adapted from the popular manga, each bridge section is smoothly connected, and there is no urine point in the whole process. The necessary colors in black and white are too great, and the unexpected plot interspersed and the use of comic sense are absolutely unique. Sure enough, the revenge story of violent aesthetics is cool to see, and in this piece alone, it is quentin who represents the gang that plays best.
NO.5: "Falling Water Dog"
Quentin's Virgo, short and sharp, the entire shooting time is only one month, the scene is basically only two tea restaurants and warehouses, but it is cool enough, after many years of re-watching. Quentin is really good at patting men, especially wounded, bleeding, and weak men. The story is very good, basically a top crime theme story (b-grade film sense is very strong) produced at a small cost, of course, because the cost is low or slightly rougher.
NO.4: The Eight Wicked Men
Quentin paints a picture of good and evil with a small but delicate story, clearly pointing directly to the essence of justice. I like Quentin's movie so much, you really can't guess what will happen next, the reversal of the drama, although violent but too wonderful, the shooting is also the camera scene is too good, the soundtrack is also a highlight, the more you see it, the more you fall into it.
NO.3: Shameless Bastard
Quentin-style violence can still give viewers a refreshing experience, and several psychological battles are surging and suddenly erupting, and then abruptly stopped in a very short period of time. Quentin falsifies history in movies, and he uses movies to make history. How can you do 153 minutes without a second of urine spots, and the unique aesthetic of violence is fascinating.
NO.2: Pulp Fiction
A very realistic movie, a true portrayal of life in the dark. Compared with the eight evil people, pulp fiction is more refreshing, like the killer without hesitation, but also like the sudden, long life of the person who seems to be the protagonist, who is the protagonist in whose story? Have many big directors tried before, making a few small stories, there are many characters, some of them are related, the genre is probably comedy, crime, the genre is black humor.
NO.1: Django Rescued
The story is brilliantly told, the twists are tense and humorous, and it is really painful to see the end. Westerns and martial arts are happy to be revenge, dentists have some schemes, and have courage, justice, informality, but unfortunately the last angry gun to kill the opponent, like forcibly for the plot to open a violent fire and merge. A Western full of violent aesthetics, Waltz and Little Plum's acting skills are really good. It's worth watching a few more times.
Quentin's top ten pinnacle works, each of which brings out the aesthetics of violence to the fullest!