Reservoir Dogs (1992)

Reviewed: 11.20.2006

Six strangers: Mr. White (Harvey Keitel), a professional criminal; Mr. Orange (Tim Roth), a young newcomer; Mr. Blonde (Michael Masden), a trigger-happy killer; Mr. Pink (Steve Buscemi), a paranoid neurotic; Mr. Brown (Quentin Tarantino); and Mr. Blue (Eddie Bunker) are assembled to pull off the perfect crime. Hired by crime boss Joe Cabot (Lawrence Tierney) and known only by their colored names so no one could identify the others, there was no way their diamond heist could have gone so wrong. After a police ambush, killing Mr. Brown and seriously injuring Mr. Orange, the criminals return to their rendezvous point, a warehouse, and slowly begin to realize that one of them had to have been a police informant. But who?

It's easy to see how Tarantino has become a living legend. His films are certainly avant garde (and borderline trendy) and an acquired taste. Reservoir Dogs, his directorial debut, is raw, gritty, and despite being uber-violent, ultra-sharp.

With its simple style and limited sets, writer/director Quentin Tarantino relies on his actors to pull the story off and what a cast it is. Harvey Keitel leads the way as the well-heeled professional. Tim Roth delivers a great performance a the youngest of the bunch. The camaraderie between Messieurs White and Orange is weirdly heart-warming. And after Mr. Orange choose his loyalties strangely sad. Steve Buscemi as the smart, humorous, most professional one of the gang is brilliant in his neurotic way. However, Masden is the muted, disturbed psychopath to watch. Fortunately for them all, Tarantino has written a clever screenplay and allows his actors to deliver some of the greatest lines of dialogue.

The film opens with a well-dress bunch of presumed gentleman discussing the finer points of 'Like a Virgin' and tipping waitress. In the next, the viewer is shoved into the back of a car, post robbery, as Mr. Orange writhes from his gut-shot and Mr. White drives hims to safety. In his typical style, Tarantino weaves unique storytelling blended with violence and smart dialogue into an utterly simple masterpiece. The viewer never sees the robbery, just the bloody after effects.

One would have to be dead or at least desensitized, not to flinch at the overwhelming violence. Then, there's the language. God forbid. I daresay, Reservoir Dogs could be a much shorter, if the characters weren't spewing 'f^ck' amid every other word. Despite that, it's the ever so subtle cinematography and editing that creates a world larger than the warehouse and few flashbacks we see and successfully so. Together with the Tarantino's trademark non-linear narrative and kinetic editing, the soundtrack helps create one stylish, atmospheric film.

Even so, Tarantino feels the need to preach. As in seemingly all his films, Tarantino's arrogance invades his story and assaults his viewers. In his world, there are no good or bad guys. Every character has their positive and negative aspects and the viewer is expected to overlook the fact these men are bloody criminals and root for them. And you do!! Only Tarantino could turn an ignorant bloodbath into a film about trust, loyalty and the consequences of your actions.

In the end, Reservoir Dogs probably deserves its heralding. It's a smart film, a modern classic that demands a viewing.

Quentin Tarantino has moments of brilliance--this film is one of them.

Robin Hood: Men in Tights (1993)

Reviewed: 10.11.2007

If you were to ask me yesterday, I would have said I liked this film. Alas, Robin Hood: Men in Tights isn't the clever comedy I remembered it to be. Cary Elwes leads a ho-hum cast that if it weren't for the rapid fire stupid and inane jokes, they'd be bored. There's nothing remotely witty or original in this attempt at a Robin Hood retread. Not even the hit 'Real Men Wear Tight Tights' can save this. For the life of me, I can't imagine how I thought this was remotely funny. Getting old kinda bites. Predictable and cringe-worthy, this movie just isn't funny anymore.

Year of the Dog (2007)

Reviewed: 10.10.2007

This canine-themed PETA propaganda film stars SNL-alum Molly Shannon as Peggy, a homely secretary who's life centers around her dog Pencil. Pencil's death becomes the catalyst for her radical transformation into animal-rights activist.

Year of the Dog is a train wreck. Glum and quirky-- everything about this movie is ill fitting. Striking me as a Stranger Than Fiction knock-off, Shannon is hardly Will Ferrell. The story isn't there and Molly Shannon doesn't help. She does nothing but emphasis her horrible posture and that painful, gummy half-smirk. Peter Sarsgaard is the consumate supporting actor; he's always fascinating to watch, but even he can't take the pain away. Regina King and John C. Reilly also make painful appearances.

Movies are the perfect medium for opinions. This viewer doesn't mind being preached to, but I do mind being knocked over the head with it. Animal activism becomes the central theme instead of developing the precious storyline the movie begins with-- that bond between people and their pets. Year of the Dog is a pitiful bit of celluloid that should be avoided at all costs.

Factory Girl (2006)

Reviewed: 10.25.2007

Sienna Miller is fascinating at Edie Sedgwick, muse of pop art icon Andy Warhol. Edie was a real life Holly Golightly. (See Breakfast at Tiffany's starring Audrey Hepburn and George Peppard.) Guy Pierce is also brilliant as Andy Warhol; it's a shame Miller's performance gets in the way. Also of note, Hayden Christenson as Musician (more like a Bob Dylan impersonation with a hint of Darth). Regardless, Factory Girl is a mess-terpiece. There are interesting performances galore, but nothing cohesive. Jimmy Fallon and one of the Olsen twins pops up for 'wha, wha, what?!' moment. Fascinating, but most pointless movie of 2006.