The 10 best Quentin Tarantino films, in ranking

    Between Quentin Tarantino’s best movies, with his hallmarks, there are also some of the best films in the history of cinema. It is what it has to be one of the most acclaimed, beloved, successful and revered directors of all time. His style, based on gathering the cinephile tradition from all over the world, has created legions of fans who kneel before his reinventions of classic genres and his most varied titles, from the best westerns to the best war movies. Also with an idea that runs through his cinema: that past history can live in a different way through cinema, be it killing Adolf Hitler in a celluloid fire or saving Sharon Tate from her fate in the summer of 1969.

    What makes Tarantino Tarantino? To begin with, there will be no shortage of music, as demonstrated in ‘Reservoir Dogs‘ (one of those indecently violent, but very good movies) with Stealers Wheel’s ‘Stuck In The Middle With You’ and in ‘pulp fiction‘ with ‘You Never Can Tell’ by Chuck Berry. It is also more than likely that a briefcase will appear to act as McGuffin from the story and keep the action going for hours, and that we will see a shot from inside a trunk, where the protagonists are probably looking because there is a person tied up. In a Quentin Tarantino film there will also be a lot of blood and violence, be it in a constant way or in the diptych’kill bill‘ or in late burst form as in ‘Once upon a time in… Hollywood‘ (one of the best films of 2019), and in all probability some old glory of the seventh art that the filmmaker has rescued to offer it a new life on the screen, as he did with John Travolta, Pam Grier in ‘Jackie Brown‘ (one of the best movies of the ’90s) and Jennifer Jason Leigh in ‘the hateful eight‘. And we don’t forget the feet, the great Tarantino fetish!

    Unfortunately, the Tarantino universe will end soon: the director has announced that he will retire after his tenth film. To celebrate his legacy, in this list we have ordered his nine titles from worst to best (although, as we will see, there are ten positions because ‘Kill Bill’ is separated into two parts) according to the notes of IMDb users, leaving out those films where he was co-director (‘Four Rooms’, ‘Sin City’) and focusing on those that define his portfolio as a filmmaker, which contains some of the best films of the 21st century. Can you imagine which movie holds first place?

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Synopsis: Two groups of voluptuous, independent and fierce women are stalked by a mysterious stuntman who, marked by a huge scar and equipped with his death proof car, executes his homicidal plans. Will these eight women be able to unmask and defeat the evil Stuntman Mike (Kurt Russell)?

Criticism of ‘Death Proof’ in Frames: “If, in Planet Terror, Robert Rodríguez raised his particular emotional tribute to cinema Z (and to the great B of the master Carpenter) through a game of addition and concentration of referents, Tarantino proposes in Death Proof an inverse (but complementary) strategy ) based on the subtraction (of themes) and the dilation (of time). The first understood as a head-on, fast, direct and brutal collision, the second as a sophisticated chase experienced on the hood of a 1970 Dodge Challenger, with its curves, pools and unexpected turns.It is not a distanced tribute, but the masterful distillation of an essence”.

NOTE: 7.5

Synopsis: A flight attendant named Jackie (Pam Grier) increases her meager monthly salary by smuggling hard currency for drug dealer Ordell. But one day she is detained at the Los Angeles airport and the police propose that she collaborate in the capture of Ordell in order to avoid going to prison. With the help of the man who bails her out, Jackie comes to the conclusion that it’s best for her if her enemies turn on each other.


Once Upon a Time in… Hollywood (2019)

NOTE: 7.6

Synopsis: The film focuses on the changing landscape of Hollywood in the late 1960s, when the industry was beginning to forget its classic pillars. The star of a television western, Rick Dalton (DiCaprio), tries to adjust to these changes at the same time as his double (Pitt). However, Dalton’s life seems to be tied to his Hollywood roots, since he is a neighbor of actress and model Sharon Tate (Robbie), who ends up being a victim of the Manson family in the August 1969 massacre.

Criticism of ‘Once upon a time in… Hollywood’ in Frames: “Nothing further from Tarantino’s intention than regretting a past that was not better. If cinema, he tells us, allows us to rewrite history, why not see his new version of that summer of ’69 through the sunny, expansive and generous prism of what must be his most welcoming film since Jackie Brown? Here it is not a matter of settling scores with Hitler, as in Inglourious Basterds, but of celebrating that there are as many possible movie stories as B-series actors and stunted stuntmen were on the payroll of a Hollywood that was shedding its skin.”


The Hateful Eight (2015)

NOTE: 7.8

Synopsis: Wyoming, shortly after the American Civil War. A blizzard forces bounty hunter John Ruth (Kurt Russell) and his prisoner Daisy Domergue (Jennifer Jason Leigh), a fugitive accused of murder whom he is taking to be hanged, to find refuge at an inn.

Criticism of ‘The Hateful Eight’ in Frames: “The The filmmaker locks these and other characters in a stagecoach stop, and turns them into the question marks of a masterful mystery behind closed doors. Everything is perfect in that limited space: the character design (not a single one is predictable, and they shake up the clichés of the genre in a very interesting way), the internal choreography of the shots, the staging and the execution of the enigma. Tarantino grows (further) as a screenwriter by masterfully bringing some narrative decisions to a strictly visual plane, giving a more reflective dimension to his verbosity and making the humor enter more naturally.


Kill Bill Vol. 2 (2004)

NOTE: 8.0

Synopsis: They stole her daughter from The Bride and ruined her wedding banquet. They are the boys (and the girl) of Bill, with David Carradine at the helm, Daryl Hannah, Michael Madsen and the culprit of his outrages, Quentin Tarantino.

Criticism of ‘Kill Bill Vol. 2’ in Frames: “Quentin Tarantino seems to claim with Kill Bill, the sum of its two volumes, his status as Great Spectator. His film does not inaugurate a genre, but borders on it and, what is more important, gives it a new use (… ) Tarantino creates a founding myth for a mutant sensibility out of second- (or third-)hand materials and demonstrates that the glare of emotion and the thunder of tragedy survived in the subsoil of the medium”


Kill Bill Vol. 1 (2003)

NOTE: 8.1

Synopsis: The members (Daryl Hannah, Vivica A. Fox, Michael Madsen and Lucy Liu) of the Deadly Viper Assassin Squad, also known as DiVAS, crash the wedding of a former partner, formerly nicknamed Black Mamba (Uma Thurman), ready to kill all present… but she survives. Revenge is served.

Criticism of ‘Kill Bill Vol. 1’ in Frames: “Perhaps what his detractors did not understand is that for the author of Pulp Fiction, cinema is neither above nor below life: cinema IS life. Kill Bill more than responds to such a syllogism: it is almost a A sentimental autobiography, the intimate diary of a provocative filmmaker whose tastes shape his own, non-transferable universe. An electric essay on popular culture, a brilliant exercise in style, a generic kitchen manual, the film goes back and forth and goes forward again pushed by its own strength. centripetal, such is the energy given off by its images and its protagonist, played by Uma Thurman as if embodying a nameless abstraction would guarantee her eternal life”.

NOTE: 8.3

Synopsis: Meeting behind closed doors, the survivors of a jewelry robbery try to find out the causes of the failure, coming to the conclusion that there is an informer among them. From that moment they will not notice the methods to unmask him.

Criticism of ‘Reservoir Dogs’ in Frames: “One of the most pleasant surprises in American cinema of the early 90s, which established its director. It proposes an original thriller stylized to the point of abstraction. Its dynamic narrative is articulated through a great sense of atmosphere, built with a remarkable violence and a contained tension that gradually reveals itself. The result of the operation is practically round”.


Inglourious Basterds (2009)

NOTE: 8.3

Synopsis: WWII. France. The Bastards, a unit of Jewish soldiers from the US Army led by Lieutenant Aldo Raine (Brad Pitt) are the terror among the German ranks. On his way he crosses a French farmer, Shosanna Dreyfus (Mélanie Laurent). The Nazis have killed her family, and she will seek revenge in a Paris cinema, where Propaganda Minister Goebbels (Sylvester Groth) wants to release her latest film.


Django Unchained (2012)

NOTE: 8.4

Synopsis: A freed slave (Jamie Foxx) is trained by a German bounty hunter (Christoph Waltz). After doing some jobs together, the protagonist embarks on a mission to free his wife, still enslaved by the evil plantation owner (Leonardo DiCaprio).

Criticism of ‘Django Unchained’ in frames: “With its tortured hero dragging a coffin through the streets of a ghost town, ‘Django’ (Sergio Corbucci, 1966) honorably picked up the baton from Sergio Leone’s founding spaghetti-westerns (…) ‘Django Unchained’ has something of a repetition of the play of ‘Inglourious Basterds’ (2009), with its impulse to rewrite history through pop fiction (Django as the proto-Black Panther) and the magnetic presence of Christoph Waltz, an actor who is something like that like a Stradivarius in the hands of the virtuoso filmmaker”.

NOTE: 8.9

Synopsis: Jules (Samuel L. Jackson) and Vincent (John Travolta) are two hit men working for Marsellus (Ving Rhames). He must be away, and he orders Vincent to take care of Mia (Uma Thurman), his attractive wife. A difficult commitment, since the previous man who carried out that task was liquidated by Marsellus.

Criticism of ‘Pulp Fiction’ in Frames: “One of the few masterpieces produced during the 90s, in which Tarantino took the brilliant notes of “Reservoir Dogs” to the last consequences. Brilliantly intertwining various stories, in a temporal diachrony that will end up acquiring an admirable sense, he develops a series of recurring obsessions and movie-going tributes that combine compositional talent with the most corrosive irony”.

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