“‘Once Upon a Time in Hollywood’ is not groundbreaking Tarantino, but it’s a fun trip back through time with real heart and likeable characters. Allow yourself to sink into its world and you’ll be rewarded with good tunes, laugh-out-loud jokes and moments of exhilaration.”
“When looking at Tarantino’s filmography, ‘The Hateful Eight’ doesn’t hold a candle to works like ‘Pulp Fiction’ or ‘Kill Bill,’ but it’s an entertaining film nonetheless — if you don’t mind the runtime.”
“‘Django Unchained’ is packed with Tarantino’s postmodern trademarks, but it also has the added value of actually addressing some serious issues.”
“‘Inglourious Basterds’ is a study in suspense.”
“‘Death Proof’ is too singularly grindhouse, but it works as a fun, trashy flick, and a cool female empowerment story.”
“All in all, ‘the 4th film by Quentin Tarantino’ is a wild, eclectic action movie with visual flair, great performances and personality up the wazoo.”
“While ‘Jackie Brown’ does revel in nostalgia and feature its fair share of firearms, it’s a much more subdued, nuanced and mature film than any of Tarantino’s previous works, or any other production within his entire filmography.’
“As a whole, ‘Pulp Fiction’ hinges on the audience’s awareness of tropes, and it offers something new by subverting expectations.”
Welcome to John Brhel’s “Once Upon a Time In Tarantinoland” — a look back at all eight of Quentin Tarantino’s feature films. First up: ‘Reservoir Dogs.’
Zach Vasquez Interviews Filmmaker Don Coscarelli
Manuela Lazic and Adam Nayman on Conducting Interviews and Writing about Directors
“The brooding ominousness Van Maele plays with throughout seems to run through many of this year’s European offerings.”
“Either you love the squeaky rollercoaster or you’ve got no time for the squeaky rollercoaster. Welcome to the carnival.”
“By taking the pressure off himself, Drake has freed himself up to produce his most spry, self-assured work yet.”
“AML is giant leap forward, as the juvenile raps/punchlines of previous records are replaced with deep-felt yearning.”
“With The Young One, Buñuel rejects the surrealism that would define his early films and almost all the European work that followed, presenting a rather straightforward narrative with superficial similarities to a Tennessee Williams screenplay.”
Leading up to the release of Hail, Caesar!, Vague Visages explores the work of Joel and Ethan Coen.
Q.V. Hough (@qvhough) is a freelance writer and founder/editor of Vague Visages. He graduated from Concordia College (Moorhead, MN) in 2004 with bachelor degrees in Communication-Mass Media and History, and from 2006 to 2012, Q.V. (Quinn) lived in Hollywood, California. He now resides in Fargo, North Dakota.