Damien Chazelle: Hollywood's Wunderkind

As the title suggests, Damien Chazelle is one of the brighest young (for directors anyway) filmmakers in Hollywood right now. From his films being great on the technical fronts, to getting career-best/overall strong work from his actors, and especially knowing how to end a film, Chazelle will be around "La La Land" (sorry) for a long time.

Now that he's announced his next film (a 1920s-Hollywood-set film where he will reunite with Emma St-I'M SOLD), let's take a look back at his three mainstream films so far.

This will definitely look good on his Ivy League applications.

3. Whiplash (4.5)

I am more in the "really like" camp than the "love" field that many seem to, however, I still think this is an interesting film that takes a good look at the "career vs. family/friends" argument.

The technical elements of the film are outstanding, as the sound editing/mixing really add a lot to the drumming scenes, as well as the music in general. The editing in the film also makes the scenes have a certain life to them, with particular mention to the famous (infamous?) "rushing/dragging" scene.

Besides that, the film is led by a good performance by Miles Teller as the young Andrew Niemann, where he portrays a music student who will do whatever it takes to be considered one of the jazz drummers of all-time. He makes the passion seem something that truly comes from Niemann, as well as the exhaustion when he's pushed around. 

However, I would be remiss if I were not to mention the other main performance: J.K. Simmons as Terence Fletcher. In a very-deserved Oscar-winning role, Simmons is excellent as the terrifying music conductor who pushes his students to the edge (literally, if he was allowed). Simmons makes sure to give every threat/burn a visceral sting, as each of them serve their purpose in terrifying his students. Besides that, Simmons isn't even one-note as Fletcher. He delivers moments of warmth, such as when he initially interacts with his students, as well as instances of downplayed passion ("good job..."). The character of Fletcher would've been more straightforward and possibly even rote in a lesser film than Whiplash.

The ending sends out the film on a strong note, as we see Fletcher finally approve of Andrews ambition and talent, as well Chazelles' direction really making the most out of Andrews' drum solo climax.

2. First Man (5)

Chazelles' first foray out of jazz/music and also his first that he only directs. First Man is a great film that has only resonated more in my mind ever since it first came out, as we see Neil Armstrongs' (Ryan Gosling) journey to becoming the titular man to reach the moon. There are many great moments in the film, but I'll start with the technicals once again.

The first being that the visual effects were VERY deserving of the Oscar win, as Chazelle knows how to simply make you believe that the space scenes really take place there. Both the moon and outer space really come to life in this film, and it is even more impressive when you realize that the film wasn't very expensive to make.

The action scenes are also very well-done. Take the opening "X-15" scene where we see Armstrong fly off the atmosphere and crash into the Mohave desert. That scene has a true visceral impact, as the editing and sound design really make you feel that you are right there with Armstrong. Not to mention the performance by Gosling himself which adds the human element and draws you in even further to the scene.

Speaking of Gosling, he is simply outstanding as Neil Armstrong. Although he is not quite a "chameleon" himself, that really shouldn't be a knock against him, he really makes a vivid character out of Armstrong. For example, the dinner table scene the night before he is scheduled to fly to the moon is a great moment for Gosling, as we see him tell his sons that he may not make it back. This could've just been a standard biopic scene if the film was in lesser hands, however, here Gosling lets us know how delivering this warning affects him internally.

The rest of the cast is also quite good, with Claire Foy as Janet Armstrong. Again, Janet could've been depicted as the typical housewife-in-a-biopic character. In First Man, we see many of the reservations that she has with the space program ("You're just a bunch of boys!") as well as her loving relationship with Neil himself. Kyle Chandler, Jason Clarke, and Corey Stoll are also good as prominent people that were involved in the NASA program.

Ah yes...the ending. Again, Chazelle truly aces the moon landing sequence, as the music and direction behind it make it feel almost like a dance, as we see Armstrong and Aldrin slowly land on the moon. However, what REALLY takes the ending (and the film) further is Armstrong leaving behind his daughters' bracelet in the crater. That scene is perfectly directed by Chazelle, as he doesn't shove it in your face, but still lets you experience what Armstrong is feeling, which is also enhanced by Goslings minimal, yet excellent performance. *Wipes tear away*

A truly great film the more that I think about it, and I get annoyed every time I see a lesser biopic, as First Man shows what can be done with the genre besides copy-pasting Wikipedia.

1. La La Land (5)

A truly wonderful film, that works as a great musical, but also as another version of Chazelles' "career vs. family/friends" thesis. This film fires on all cylinders, so I'll once again start with the technical.

I will admit that the film received way more Oscar nominations than it really deserved, however, I won't hold that against it. The cinematography is great in many scenes of the film, with special mention to the "space dancing" scene and many other scenes that take place in outdoor Los Angeles. One could say the production design of the film is really owed to location scouting of the area, however it does serve its purpose of illustrating the jazz music scene in LA, as well as showbiz. The costumes also do a good job of showing where the characters in the film are at in life, such as Sebastian dressing more casually in the beginning compared to the suits he wears at the end. 

The film is also quite funny in several moments, such as the "death glare" after requesting "I Ran",  the cutaway to the Prius car keys, as well as JK Simmons "You're fired" and his little smile at the end of the film. There are many great sequences and scenes in the film, including one I'll mention at the end, but these include: the piano solo, the dinner fight, the opening number, "City of Stars" (both versions), "Someone in the Crowd" and the dating montage in the middle of the film.

Past that, many of the songs are quite memorable and really work in adding to the film. Take "Another Day of Sun", which is quite the catchy song, but also lets us into the perspective of someone who is trying to make their dream come true. Take "City of Stars", which also goes hand-in-hand with the previous song of living a dream, and what it means to pursue it.

I haven't even gotten to the acting yet, which is once again terrific here. Emma Stone is luminous, funny, and charming to be sure, yet she is also heartbreaking in her main dramatic scene at the end of the film, which is most likely the scene that clinched her the Oscar for Best Actress. On the other side of the coin, Ryan Gosling is great in an old-school romantic leading turn as the struggling jazz musician Sebastian. He delivers the charm here and has a great handle on Chazelles' tone and script. Although his dramatic scenes didn't quite receive the same attention Stones' did when the film first came out, they shouldn't be handwaved, as he is great in showing how his jazz dreams affect him when it comes to his relationship with Mia (Emma Stone). 

Again,  La La Land is a truly great film that fully shows what can be accomplished with cinema, however I would like to conclude with the final montage of the film: the epilogue. In one of Chazelles' best directed moments, we see a perfect encapsulation of the film without seeming like pure exposition. We see the true "What If?" of the ways that Sebastian and Mia's relationship could've worked out if they hadn't decided what they did. There are many great moments in that sequence, such as the Paris shoot, the jazz solo, and best of all, the "homestyle" footage of the life that Mia and Sebastian could've had instead. Top that with the great arrangement that is, well, "Epilogue" and the film goes out on a very high note, not to mention the glance that Mia and Sebastian share at the last few seconds of the film, where they share the love they shared...and also the melancholy.

What is you favorite Chazelle film? Your least favorite? Answer off in the comments!

The Brothers Coen and their Films: Ranked

The one (two?) and only Coen brothers. From crime to westerns, dramas to thrillers, noirs and screwball comedies, the dynamic duo can do it all.

DISCLAIMER: Since this is the Coen brothers we're talking about, this list could change quite a bit once I get to rewatching a couple of the films. Or even just one of them

Anyways, without further ado...

Serious men.

Intolerable Cruelty (2.5)

Eh, for me, this is the only film of theirs where they feel "out of their element" (sorry). 

Clooney is actually pretty charming here, Cedric the Entertainer is solid in a supporting role, and a has a darkly funny death scene with Wheezy Joe. The rest is just a forgettable screwball comedy that doesn't even feel like a true Coen brothers film, and it's worth noting that the ending isn't even memorable, as that is something the Coens are simply masters of.

The Hudsucker Proxy

Some good production design, and a couple of good performances by Robbins, Leigh and Newman, however the film feels like a swing-and-miss by the bros, since you'd think the screwball comedy would be right up there alley. The ingredients are there for an enjoyable outing, but the execution is off. Not without merit, but really just forgettable.

The Man Who Wasn’t There (3)

This one I'll admit does have a great performance by Billy Bob Thornton and GREAT black-and-white cinematography, but unfortunately, the dryness of this film just didn't do it for me. I honestly do feel a little bad for ranking it this low, but as I mentioned earlier, a rewatch could improve things for me here. Not quite my tempo, but the last thing I'd call this film is "disposable."

Miller's Crossing (3.5)

Another film I ought to re-watch. The Coens really create a good sense of atmosphere, and the acting across the board is pretty good. I don't remember the story itself being all that vivid (and even a bit bland) the first time I saw the film, but again, a re-watch is in order soon. Good production design though.

Blood Simple

A solid debut by the bros. Getz isn't great as the male lead, but the performances by McDormand, Hedaya and especially Hedaya really elevate the film. One can really it as a precursor for one of the Coens films that shows up at the bottom of this list.

Hail, Caesar!

Maybe a "light" one for the bros, but if any of them can pull off a good love letter to Hollywoods' Golden Age, it's them. Everyone in the cast really gets their time to shine, with Ehrenreich, Swinton and Fiennes among the standouts. McDormand, Hill, and even Dolph Lundgren are memorable in their cameos. Some truly great scenes, such as the religious leaders, "would that it were so simple?" and Mannix slapping some sense into Whitlock in his office.

Billy Wilder would've been proud.

True Grit

I don't like the film as much as others may do, as a couple of the performances are rather "eh". Steinfeld I think is solid though, and Barry Pepper is quite memorable in his cameo, and I kind of wish he had Damons' part as well. Nevertheless, the film is watchable enough and has truly great cinematography, with the action scenes being quite entertaining. The film just didn't quite come to life for me, but there's still some entertainment here.

Burn After Reading

Reaches higher heights than the film right above this this one, mainly due to John Malkovich, J.K. Simmons and especially Brad Pitt. The story does feel a little uneven, but boy, Pitt really elevates a lot of it. A fun film, and I'd like to see Malkovich and Pitt reunite with the Coens one day.

The Ladykillers 

One of their most underrated?

Seriously, although I haven't seen the original, I thought this was a funny film about a group of robbers who meet their biggest match yet. Hanks is a delight to watch as the charming yet scheming ringleader, the other criminals are quite memorable (especially Wayans and Simmons) and Irma P. Hall as the "villain" who starts to catch on to the boys. Not a bad choice for a film to watch on a lazy Sunday afternoon.

A Serious Man (4)

As one of the reviews about the film said when it first came out, this is the type of movie that you get to make after winning the Oscar. The brothers really make a fascinating film here in their adaptation of the book of Job, as it manages to be darkly funny while holding enough dramatic weight.

Michael Stuhlbarg is a revelation in the lead role, the rest of the family is funny whether their roles are small or large, and the film has great production design that goes hand-in-hand. Also, I really like the ending for the film, and I'd even consider that amongst the best of the Coens, which is saying something.

Raising Arizona 

Another fun film from the early days of the bros. Nicolas Cage is a hoot in the lead role of Herbert and would prove to be a sign of things to come for the then-young actor. Holly Hunter is good as well and strikes up quite the chemistry with Cages' character. The story and the ending are even rather moving, as Cage and Hunter really pull you in with their desire to raise a baby, despite their "unorthodox" methods of trying to do so. 

The Big Lebowski (4.5)

The cult classic to end all cult classics. A parody of 40s/50s neo-noir films, the Coens deliver with a very quotable sendup of those films. Jeff Bridges is great as his most iconic character to date, John Goodman is a riot in the intense, yet moronic Walter Sobchak, and the rest of the ensemble is also great in just illustrating the criminal underworld of Los Angeles.

One thing I want to mention that I love about the film is that Walter is proven to be correct about everything in the main mystery of the film, where one could've easily just shrugged it off as Walter rambling. The film also has many great scenes that are still quoted heavily twenty years later: anything with Donny, the final showdown between the boys and the nihilists, confronting Larry, the dream sequence, "I hate the Eagles", "Mark it zero!" etc.

*Watches film again* Wait...is that David Thewlis?

O Brother, Where Art Thou? (4.5)

One of the best road trip movies out there, the Coens hit a home run with that genre in this comedic sendup of The Odyssey (who claim that they've never read it.)

Clooney is quite good here as the leader of the runaway prisoners, who probably doesn't use 100 percent of his brain, along with Tim Blake Nelson and John Turturro rounding out the prisoners. The soundtrack is also quite memorable, as is John Goodman (among others) in the rest of the ensemble. As much fun as the film is, the film is also quite moving in its more dramatic moments, with the highlight being the prisoners crying before they are set to be hanged at the end of the film.

The Ballad of Buster Scruggs (5)

You want comedy? The title character can help you with that. You want a contemplative drama about show business? Maybe the journeyman Impresario and his "meal ticket" know a thing or two about that. You want to see someone get lucky out on the gold trail? Well, The Prospector wishes the same.

A wonderful smorgasboard of what the Coens have to offer, and you could look at is a "greatest hits" of sorts for the Coens' filmography, as you could see why they are great as they are in this anthology film. Once again, the cinematography for each segment is outstanding, along with a great ensemble (shame no one got praised in awards season, although that seems to be the case with anthologies.) The film even achieves quite a bit of heart with "The Gal Who Got Rattled", as the brothers once again prove they're quite capable of anything.

Inside Llewyn Davis

One of their most introspective films, the Coens treatise on the folk scene in New York's Greenwich Village is a film that's grown a lot on me, and I already liked it the first time around. Oscar Isaac is a revelation as the title character, as he walks a tightrope between being a jerk and making the character watchable, which is as difficult as it sounds.

As per usual for the Coens, the technical aspects of the film are great, with Delbonnel not skipping a beat as Deakins replacement this time around (especially with some great shots in the road trip section of the film.) Besides Isaac, everyone else in the film is memorable, with John Goodman as a grizzled, yet funny jazz musician, Adam Driver as a hilarious backup singer, and F. Murray Abraham as a dry-as-toast music executive.

Barton Fink 

Although this and Inside Llewyn Davis are about neck-and-neck for me, this is a terrific film that gets better the more I think about it. There are many things that are simply excellent about the film. Take the production design, which is the best you'll see in any film, as the hotel is downright eerie and claustrophobic, compared to the pristine look of the studios and Lipnicks' mansion. This provides a great contrast between Finks' writers' block and the suits that just want boxing picture from him.

Take the acting, where Turturro and Goodman deliver career-best performances as the frazzled playwright Fink and the friendly-at-first-sight "Charlie Meadows". Michael Lerner also makes the most out of his mile-a-minute spewing Jack Lipnick. And of course, Steve Buscemi as the bellhop.

Take even the ending, which is actually quite perfect in my mind, as we see Fink take a breather from the hell that he gets trapped in: having to write films that won't get produced, as well as the hotel.

A great all-around film on all fronts.

No Country for Old Men

A true masterpiece in my book, even though it took me quite some time for me to arrive to that conclusion, as I recall feeling a bit cold when I first saw it.

Javier Bardem is downright chilling as Terminator-meets-Hannibal-Lector hitman Anton Chigurh, as just his mere presence suggests that everyone in his path will meet an unfortunate fate. Josh Brolin is a revelation (the Coens have a knack for that don't they?) as the "action hero" Llewelyn Moss, who gets WAY more than he bargained for when he finds a bag of money out in the desert. Tommy Lee Jones is also great, as the humorous, yet pensative Sheriff Ed Tom Bell, who attempts to track down Moss and protect him from evil. Everyone else in the cast ranging from the sardonic Carson Wells (Woody Harrelson) to the brave Carla Jean Moss (Kelly MacDonald) is also great.

One thing I love about the film is how the action scenes in the film are directed. The first example is when Moss is discovered by men who are looking for the bag of money and Moss runs into the river to escape from the men. It's a great piece of more overt action.

The second example being the main chase scene between Moss and Chigurh, which is a perfect combination of intensity (Moss waiting in the hotel room while Chigurh is in the hall) as well as overt action once again (the two of them chasing each other out in the streets).

As you'd expect from Roger Deakins, the cinematography is excellent, as the film has many great shots of the Texan country, while still creating a sense of dread in the more urban scenes of the film.

Lastly, I'd be remiss not to mention the ending of the film, as we see Sheriff Bell recount a story that goes hand-in-hand with the plot/theme of the film. It is well-delivered by Lee Jones, yet rather haunting.

Fargo

I could honestly flip between either of these films, and it would pain me to deny the other spot.
Anyways, the Coens show why they are the masters, as the dark comedy genre is one that is very hard to pull off.

Once again, the acting is great, as we see Marge Gunderson (Frances McDormand) unfoil a kidnapping plot that could not have gone more wrong, orchestrated by Jerry Lundegaard (William H. Macy). The criminals played by Steve Buscemi and Peter Stormare are also very funny.

What I think makes the film really great however, is that not a single scene is wasted here, and even has a great detail added to each of them. Take for example the first scene where Lundegaard meets with Carl (Buscemi) and Gaear (Stormare). We see the beginning of the plot being laid out, but what I love here is that Carl and Gaear are already annoyed that Jerry was running late. This provides a great payoff when they decide to go AWOL later on in the kidnapping plan.

Take the lunch with Mike Yanagita scene. Although it can be taken as superfluous at first glance, it actually proves to be the scene where Marge starts to second-guess her first meeting with Jerry. It's outstanding screenwriting, where the Coens rightfully won their first screenwriting Oscar.

Of course, the films' cinematography is...you guessed...it great, as all of the outdoor snow scenes are terrific. However, a technical aspect of the film that stood out to me more on rewatch is the score by Carter Burwell. It is excellent work that amplifies both the comedy and the dramatic intentions of the film.



What is you favorite Coen brothers film? The least? Answer off in the comments below.

Quentin and his Films: Ranked

Quentin Tarantino is one of the most famous auteurs in the film industry, and I'd say that his name alone is a brand itself. From working with the biggest current stars in Hollywood, to character actors from the past (and everything in between), it's no wonder that seemingly every thespian is lining up at his door for a role in one of his films.

Before OUATIH starts to make some noise during awards season, let's look back at his filmography before he decides to hang up the camera at 10 (supposedly).

Side note: Does anyone actually know what's going on with him and Star Trek?

"For the last time, I'm not going to tell you what was in the briefcase!"

10. Death Proof (2)

It's easy to see why this film isn't really talked about nowadays outside of...probably Tarantino himself, as it's really just a bore. The film just goes on and on with conversations about working in the industry that isn't really interesting. What's worse is that I couldn't tell you an exact line of dialogue off the top of my head, and that's with me having the seen the film recently. The purposefully-dated cinematography isn't bad, although I don't really think it added anything to the film. The cast does what they can with their roles, I'll admit.

With that said, Kurt Russell is pretty good as a maniacal stuntman, and the action scenes are well-done to be sure. Otherwise...eh.

9. Jackie Brown (3.5)

I'll start off by saying that the film has quite a fine cast, with Pam Grier in a comeback role, Samuel L. Jackson as the villain, and De Niro, Tucker, Keaton and especially Robert Forster solid in supporting roles in the cast. I also do like the general story of the film, as we see the title character attempt to get the best of Ordell Robbie (Jackson) with a bag of smuggled money. And it's also interesting to see Tarantino directly adapt someone else's material.

However, the film never quite comes to life as I think it intended to. Not that it's boring, but I just never found myself quite thrilled by what's going on, as directed. I think this is an okay film, so I'll just leave it at that.

8. Reservoir Dogs (4)

A fine crime thriller from Tarantino at his first turn at-bat. The film follows a group of criminals that attempt a bank heist that suddenly goes wrong, and then try to figure out who the mole in the group is. Once again, Tarantino assembles a good cast here, with Harvey Keitel as the leader of sorts from the group, the "professional" criminal played by Steve Buscemi, and our audience surrogate in Tim Roth.

I like the tension in the scenes after the heist where they attempt to weed the mole out, as we really just get to see how differently criminals react in this type of situation. As in, some just want to make off with the loot, some want to get dirty to get whatever information they want, some really do look out for their men, and some...just don't make it.

7. Django Unchained (4)

A good revenge action film. Tarantino creates some really great scenes in this film, with particular attention to the iconic glass-breaking scene. Again, the film has a terrific supporting cast, with Dicaprio as the plantation owner Calvin Candie, Christoph Waltz as the "polite" bounty hunter, and Samuel L. Jackson in an underrated turn as Candies' loyal house slave. The action scenes are also solid here.

I think Jamie Foxx is decent in the title role, however I can't help but feel if someone else in that role could've brought the part and film to greater heights. I also want to mention that most of the third act is messy, as it feels like it lacks structure. Nevertheless, it is an entertaining film.

6. Once Upon a Time in Hollywood (4)

Tarantino's love letter to Hollywood. Dicaprio and Pitt both give great performances as fading actor & stuntman Rick Dalton and Cliff Booth respectively. It's quite amusing to see Dicaprio play that type of actor, since the man himself is the one of the very few safe bets working in showbiz right now and could get anything he wants greenlit. It's also great to see Pitt play the "more than a brother, less than a wife" friend to Dalton, and I'd consider it one of his best late-career performances.

Besides that, Tarantino does a great job in recreating late 1960s Hollywood, as the cinematography, costumes and production design are both quite great. I'd also like to give credit to Tarantino himself, for showing some restraint given that there were many concerns when it was announced that he was going to make a film about the Manson murders.

That said, I do think the film itself could've lost about twenty minutes, as quite frankly, several scenes are gratuitous and longer than they needed to be. The narration doesn't quite work, and Robbie as Sharon Tate could've at least been given more to do to make up for the scenes that take are pretty long. Nevertheless, I'd consider the film to be pretty good, and I'm pleased to see it's doing pretty well financially.

5. Kill Bill Vol. 2 (4.5)

A slighest of margins between this and Volume I, but I'll rank it here right now. The quieter of the two films, I find Vol. 2 to be an effective end to the journey of The Bride, as we root for her to get what she wants, only for it to no go the way she expects. Thurman is excellent here in the "reprise", as she is quite good in her more dramatic moments. Michael Madsen is great here as he usually is with Tarantino calling the shots, and David Carradine goes above the call as the titular character. Maybe a little less remembered than Vol. I, but still a satisfying conclusion.

4. Kill Bill Vol. 1 (4.5)

The more action-y of the two, Vol. I is a very entertaining revenge film with Uma Thurman great as The Bride as she faces off against several enemies who were involved in some way with loss of her child. Tarantino really embraces the style of martial arts films that he quite loves, and it works in adding a lot of vibrancy to the film, as he does manage to make his own mark on the genre. Very honorable mention to the main action setpiece at the end of the film, as we see The Bride dispatch more than several enemies at a house in Japan.

3. Inglorious Basterds (5)

Tarantino's WWII film, with some revisionism of course. Tarantino really achieves in making an entertaining thrill ride, as we see him tackle a "What If..." in regards to an assassination of Adolf Hitler. The film has many truly great scenes, which have earned their place in popular culture.

Scenes such as the opening, where we get to see how charmingly evil Colonel Hans Landa is in regards to his methods (Christoph Waltz in an Oscar-winning turn). The bar scene, where the tension there can be cut with a knife and is gripping. The first main scene with the Basterds, where we get to see them how they handle a German who refuses to release pivotal information. The "demands" scene with Landa and Aldo Raine/Utivich (Novak), where we get to see Landa try to make off with some rewards after things are getting close to the end. Even the burning theater scene delivers on providing a proper climax to the film, which is one scene that proves that Tarantino does have a great eye in delivering his scripts to the screen. Not that he doesn't; it's just that it seems that he's viewed more as a writer than a director.

Anyways, the film is truly great, and also special mention to the film for introducing Michael Fassbender to American audiences.

2. The Hateful Eight (5)

A film that I really believe should be more talked about nowadays, and it may very well be Tarantino's most underrated. I have to give credit to Tarantino for creating a lot of tension in the cabin full of strangers that dominates the plot. The film never drags at any point, and I was always on my toes as to what was going to happen next.

The cabin itself has a great look and feel to it, and the cinematography is quite extraordinary in capturing the desolate exteriors of the snowy Wyoming mountains, while giving an "intimate" vibe to the cabin which goes against the nature of the strangers in the cabin.

Speaking of, the cast here is excellent. Samuel L. Jackson gives a great performance as bounty hunter Major Marquis Warren, as the man who tries to make sense of the suspicious behavior of everyone in the cabin. Kurt Russell & Jennifer Jason Leigh are both excellent as the hangman John Ruth and fugitive Daisy Domergue, in comeback roles for both. To round it off, Walton Goggins makes his film breakout as the racist, yet hilarious Chris Mannix, with many of the funniest scenes in the film belonging to him acting as the wild card. Demian Bichir, Tim-Roth-in-Christoph-Waltz-mode, Michael Madsen, and Bruce Dern all round out a pretty great ensemble.

1. Pulp Fiction (5)


Tarantino's best in my book, but I'll get out the few negatives out of the way. One of them is the scene where Fabienne just rambles on about getting a pot belly and...some other things I don't remember. It's a pretty tedious scene that feels that it never ends, and what's worse is that it is placed after a quiet scene with Butch (Bruce Willis), which creates a lull at this point in the film. Also, Tarantino isn't exactly Charlie Chaplin when it comes to actors/directors, as he's pretty cloying as Jimmie.

With that out of the way, I find Pulp Fiction to be a truly great film deserving of its status. All of the stories are great, and the nonlinear approach really works in adding layers/perspectives as to how we see the stories play out. Each of the stories deliver on their intent, whether it be the black comedy of an accidental murder or the tension of a man on the run who experiences "the weirdest f*cking day of his life". Even the one-scene wonder with Captain Koons (Christopher Walken) is great as we get to see what drives Butch to do what he does.

Past that, the cast is great on all fronts, with John Travolta resurrecting his career as the charismatic, yet careless Vincent, Samuel L. Jackson breaking through as his menacing partner Jules, Bruce Willis as the stoic boxer Butch, and Uma Thurman as Mia Wallace. The aforementioned Walken and the extended cameo of Harvey Keitel as fixer Wolfe Winston are memorable.

One scene that has grown on me over the years is the final dinner scene. It is one of the great moments in Samuel L. Jacksons' career, as we see Jules doing a 180 in terms of the way he approaches life, and it works as a perfect contradiction to his famous speech earlier in the movie. I just wanted to mention that.

What is your favorite Tarantino film? Your least favorite? Sound off in the comments below!