Robert Rodriguez’s official arrival on the major-studio film scene remains a riotous, stylish pulp actioner.
Who should win, who will win, and who was left out.
From Ad Astra to Us, we celebrate the cream of the cinematic crop in 2019.
The otherwise-spotty Hateful Eight still contains one of Tarantino’s greatest sequences.
While “The Lion King” dropped like Mufasa off a cliff in its second weekend, “Once Upon a Time in Hollywood” kicked off Tarantino’s biggest opening.
Quibbles about violence and the n-word aside, Quentin Tarantino’s slave-era blaxploitation film remains one of his most exciting works.
Quentin Tarantino’s blood-soaked WWII film lets him turn the camera around on the audience and interrogate his own violent oeuvre.
Quentin Tarantino’s half of the nostalgia throwback Grindhouse is as problematic as it is strangely empowering.
While it divided viewers at the time, Quentin Tarantino’s Kill Bill Vol. 1 remains a testament to the pop culture gadfly’s desire to hone his action chops.
Watching the Kill Bill saga in reverse order yields some fascinating rewards.
Quentin Tarantino’s ninth film is a sun-soaked return to his roots, an energetic elegy for Old Hollywood that plays fast and loose with its history.
Even with segments by 90s indie luminaries like Robert Rodriguez, Allison Anders and Quentin Tarantino, Four Rooms is too herky-jerk to work.
An early Quentin Tarantino screenplay is turned into an over the top look at America’s obsession with crime & criminals.
Robert Rodriguez and Quentin Tarantino’s grindhouse vampire thriller is a fascinating but flawed glimpse into their collaboration.
Quentin Tarantino’s classic 1994 new-cool drama set the stage for a new era of independent film, and saw the end of his own sense of mercy.
One of the few Tarantino scripts not directed by the man himself, Tony Scott’s “True Romance” is a tragically too-cool crime thriller that doesn’t age well.
Quentin Tarantino’s breakout debut feature is a bloody distillation of his best and worst instincts.
With his ninth film coming out this month, we look back on the indie titan and his deeply metatextual approach to cinema.