Amazon Studio's Playbook to Ruin Cinema

Estimated Reading Time: 3 minutes 42 seconds

Amazon Studio’s new “playbook” makes it official, diversity, not talent, skill or merit, is the only thing that matters anymore in the entertainment industry

The stunning document is shameless in its disdain for artistry and individuality, and its aggressive worship of all things woke.

The entertainment industry and the art of cinema took a gargantuan step on their relentless death march into the hellscape of the woke Mordor recently when Jeff Bezos, the Sauron of Amazon Studios, released his new “diversity, equity and inclusion (DEI) playbook”.

Following in the footsteps of the Academy Awards, which implemented new diversity and inclusion mandates into awards eligibility criteria, and Disney, which has turned the happiest place on earth into the People’s Republic of Wokestan, Amazon Studios, the new home of James Bond and Rocky, has, like a suicide note, put in writing its demand that film and TV ignore talent, skill and merit when hiring in favor of diversity, equity and inclusion.

It’s now clear that the corporate human resources junta has successfully transformed Hollywood into nothing more than the propaganda arm for the woke Savonarolas who burn art and entertainment on the bonfire of inanities that is DEI.

Among many things Amazon’s “playbook” demands are creative roles on productions being 50% women and underrepresented racial/ethnic groups by 2024, and documentation and reporting of these diversity quotas is required both pre and post production. Unfortunately, the exact skin tone and percentage of “racial/ethnic” blood needed to qualify as belonging to an underrepresented group, and the papers you’ll need to show to the DEI gestapo to prove it, are not made clear.

The insidious “playbook” also declares its commitment to “authentic portrayals” and its intention to cast “actors in a role whose identity aligns with the identity of the character they will be playing (by gender, gender identity, nationality, race/ethnicity, sexual orientation, and disability) and in particular when the character is a member of an underrepresented group/identity.”

In other words, Amazon appears to be outlawing the art of acting as only disabled actors can play disabled characters and only LGBTQ actors can play LGBTQ roles. This is what happens when human resources deplorables take over the creative process.

One wonders how exactly Amazon will check if an actor up for a lesbian, gay or bisexual role is the real deal or not? Will actors be forced to “prove’ their lesbian, gay or bisexual bona fides by performing a sex act with an appropriately aligned producer? Maybe the casting couch can get a public relations facelift if it’s used to help Hollywood achieve the woke nirvana of diversity, equity and inclusion.

Of course, from an artistic perspective, the absurdity of Amazon’s totalitarian woke decrees is only topped by its power to suffocate and stultify creativity.

Consider this, some of the greatest performances we’ve seen in recent years would be wiped out by Amazon’s DEI manifesto, and it wouldn’t be surprising if eventually they’re retroactively cancelled for not being aligned with the new mandates.

For example, Daniel Day-Lewis is one of the greatest actors we’ve ever had, but despite not being disabled he won an Oscar for playing Christy Brown in My Left Foot, and won two Oscars for playing Americans in There Will Be Blood and Lincoln, despite being British and Irish.

In addition, Sean Penn isn’t gay but won an Oscar for playing Harvey Milk, Eddie Redmayne is able bodied but won for playing Stephen Hawking, Colin Firth won for playing King George VI but didn’t have a royal stutter and Jamie Foxx won for playing Ray Charles despite not being blind.

Even last year’s crop of movies would be affected by Amazon’s woke encyclical. Anthony Hopkins doesn’t have dementia but won the Best Actor Oscar playing a man suffering from that malady, Daniel Kaluuya won Best Supporting Actor Oscar is British but won for playing an African-American, and in Amazon Studio’s own Sound of Metal, Riz Ahmed was Oscar nominated for playing a deaf character but has perfect hearing.

Two of Amazon’s big hits from last year, Borat Subsequent Moviefilm and Coming 2 America violate this new woke law too as Brit Sacha Baron Cohen played a Kazahkstani, and New Yorker Eddie Murphy is played an African King. The horror!

Amazon’s decree is so specific it even states “But if the character has a distinct ethnic background, make sure that the actor’s ethnic background doesn’t conflict with this portrayal”, using as an example of a bad approach “are you casting a person of Puerto Rican heritage to play a character who is Colombian?” Under this edict Benicio del Toro’s Best Supporting Actor Oscar for playing a Mexican in Traffic wouldn’t happen because he is Puerto Rican.

Amazon’s “playbook” blatantly declares its repulsion at talent, skill and merit as a casting-criteria when it states that casting directors need to avoid “Relying on your “gut” or seeking “the best person for the job” as that’s an “inherently biased processes that may skew your decision making.”

If this relentless focus on hiring actors, creatives and even crew based on their gender, sexuality, race/ethnicity and nationality all sounds legally dubious if not outright discriminatory, Amazon agrees, as they throw in this playbook disclaimer to cover their backsides, “While this Playbook provides a general overview, it is not intended to provide legal advice, so it’s crucial to discuss these issues with your attorney.”

As a cinephile and lover of quality art and entertainment in movies and tv, I’m looking forward to the day when the despicable woke totalitarian philistines currently running and ruining Hollywood learn the hard way, at the box office and in the courtroom, that “get woke, go broke” is a universal law that supersedes their self-righteous, anti-merit, DEI declarations of blatant discrimination. They deserve nothing less.

 A version of this article was originally published at RT.

©2021

Looking California and Feeling Minnesota Podcast: Episode 28 - Soul

This week on everybody's favorite cinema podcast, Barry and I dive into Pixar's latest animated venture Soul. This unique film stars Jamie Foxx and Tina Fey as two entities trying to navigate life, death and New York City. Topics discussed on this episode include diversity in animation, my allergy to Pixar movies and Barry's tales of bad investment advice.

Looking California and Feeling Minnesota - Episode 28: Soul

Thanks for listening!

©2021

Pixar's Soul: A Review and Commentary

Pixar’s first “black-led” movie ‘Soul’ isn’t about being black, it’s about being human

Pixar went to great lengths to make sure Soul would be acceptable to black people, but that won’t stop the woke from conjuring racial criticism of it.

Soul, the new film from esteemed animation studio Pixar that premiered on the streaming service Disney + on Christmas Day, has gotten a lot of attention for featuring the first black protagonist in Pixar’s history.

The film tells the story of Joe Gardner (Jamie Foxx), a good-hearted jazz musician (who happens to be black) making a living teaching music at a New York City middle school.

On the day Joe’s life is about to change following an audition with a famous saxophonist searching for a piano player, things end up taking an unanticipated twist.

What follows is a very existential and mildly entertaining metaphysical magical mystery tour through life, death, art and New York City. 

In this era of aggressive wokeness and cancel culture, Pixar and Disney went to great lengths to make sure Soul was not deemed racist and was acceptable to black people.

According to the New York Times, “Knowing their work would be minutely scrutinized, the director Pete Doctor, the co-screenwriter Mike Jones and the producer Dana Murray, who are white, set out to create a character who would be believably Black while avoiding the stereotypes of the past.”

So the question is how could these artists, who are members of a race (white) so despicable the New York Times refuses to capitalize it, believably create a character whose race (Black) is so superior that it is always capitalized in the New York Times?

As the Times informs us, the first step in this Herculean task was Pixar’s vice president for inclusion strategies Britta Wilson building a “Cultural Trust” made up of the company’s black employees.

The second step was that the production “talked to a lot of external consultants and black organizations...”

And finally the production brought in black writer Kemp Powers as a screenwriter who then got promoted to co-director, the first black director in Pixar history.

If all of that corporate pandering, from having a vice president of “inclusion strategies” to a “Cultural Trust” to hiring racial consultants, seems transparently ridiculous, repulsively shameless and downright griftery, you are not alone. But thankfully the film somewhat succeeds despite, as opposed to because of, all of this human resources inspired nonsense.

Ironically, the end result of all of Pixar’s gratuitous genuflecting to black people is a film that is strikingly color blind in a gloriously unwoke, old-fashioned and beautifully rational Martin Luther King-esque kind of way, as Joe’s race is actually entirely incidental to the story in Soul.

To the film’s great credit it doesn’t tell a black story, it tells a human story. Soul transcends race, or any of our other superficial differences like ethnicity and gender, and highlights the fact that we are not “white” people and “black” people, but rather, just people…all of us filled with hopes, fears, dreams and heartbreaks.

The funny thing though about Pixar being so scared of being called “racist” that it bent over backwards to make Soul acceptable to black people, is that it wasn’t black people it needed to be worried about…it was the woke.

Case in point, Kirsten Acuna, a non-black, woke film critic for the Insider, was deeply disturbed by Soul’s racial politics, so much so that the rather harmless film left her “cringing up until the very last minute”.

Acuna’s specific woke complaints contain too many spoilers to share in detail, but one of her non-spoiler issues was that “Pixar’s first Black-led film should celebrate a Black man’s experience and solely focus on his dreams and desires. Instead, Joe’s life takes a backseat in order for a white woman to figure out what she wanted from life.”

Contrary to Acuna’s complaint, there is actually no “white woman” character in the movie at all. Even though the alleged offending character, “22”, is voiced by white actress Tina Fey, a major premise of the movie is that “22” is a spiritual entity capable of taking any form.

Acuna was also dismayed that Soul has a 97% critical score at Rotten Tomatoes, declaring that the majority of critics who have reviewed the movie are white, and “shouldn't at least half of the reviews for Pixar's first film with a Black lead come from critics of color?”

So if we studiously apply Ms. Acuna’s race-based test for film critics, then the obvious question becomes…why didn’t Ms. Acuna let a black critic write a review of Pixar’s first black-led film instead of writing one herself?

This is why wokeness is so insidious and why trying to appease it is a Sisyphean venture, because it is an inherently irrational, emotionally fueled exercise in grievance seeking and virtue signaling…case in point – the vacuous and vapid woke fools like Kirsten Acuna lamenting Soul’s allegedly troublesome racial politics.

As for my opinion, Soul wasn’t as great as I hoped it would be, but it also wasn’t bad. It’s an at times entertaining, thought provoking, visually gorgeous and interesting movie.

My biggest issue with Soul was that it wasn’t quite as philosophically profound as it could have been, but to my surprise and to its credit, it also wasn’t heavy-handed and politically preachy…and for that I was very grateful, and you should be too.

My Rating: 3 out of 5 stars

My Recommendation: SEE IT. A mildly entertaining movie that takes a unique look at life, death and art. Not perfect by any stretch but compelling enough to keep you engaged.

A version of this article was originally published at RT.

©2020

The Tedious Woke Outrage Over Oscar Nominations

Estimated Reading Time: 3 minutes 27 seconds

The Oscar Nominations came out on Monday morning and the usual woke suspects were outraged by the lack of minorities and women in key categories.

You can set your watch by the emotionalist bitching and moaning of the identity politics crowd come awards season and so I fully expected to be confronted by a cavalcade of absurd hot takes from the woke media bemoaning the racism and misogyny of the Academy Awards when I awoke this morning. I was not disappointed.

The first headline I saw declared “Oscars Nominations Lack Diversity”, and other articles decried black actress Lupita Nyongo’s lack of a nomination as “horrifying”, and deemed the absence of recognition for female directors, among them Greta Gerwig and Lulu Wang, as well as minority actors Jamie Foxx, Eddie Murphy, Jennifer Lopez and Awkwafina as being a result of “snubs”.

As is evidenced by this current Academy Award furor, outrage is the nectar of the gods for the woke contingent, and they fuel themselves and their self-righteousness on its intoxicating nature. Proof of this was found last year when every acting category at the Oscars was won by an actor of color, which should have made the woke happy…but instead the main storyline surrounding the event was that Green Book, a movie deemed “racist” because it depicted racism in America through the perspective of a white character, had won Best Picture.

I must admit that there is nothing so delightful as the vacuous and self-righteous over-reaction of the woke to entertainment award nominations and wins. Ever since the #OscarsSoWhite movement came to the forefront in 2016, you can always count on the identity politics adherents come awards season to make an emotional mountain out of the lack of diversity and inclusion molehill.

In regards to the current woke hysteria, here are some facts to remember. Contrary to the headline mentioned above, the 2020 Oscars did not shut out all diversity. Black actress Cynthia Erivo and Latino actor Antonio Banderas are nominated in the main acting categories, and Korean director Bong Joon Ho and his terrific film Parasite, is nominated for Best Picture, Best Director and Best Original Screenplay.

As for the female directors and minority actors left out of nominations…who exactly is deserving and who should they replace on the current list? This is why I find the woke media outrage over the Oscar nominations so disingenuous as they say all of these minority and female artists should be nominated but never mention what white/male artist isn’t deserving of their nomination. 

Greta Gerwig (Little Women), Lulu Wang (The Farewell), Marielle Heller (A Beautiful Day in the Neighborhood), and Lorena Scafaria (Hustlers) are often named as female directors who should be nominated…but this seems more like a list of female directors who have made a movie this year, and not a list of female directors who have made a good movie this year. No one but a cinematic cretin and philistine would consider these films, except for Little Women, even remotely serious Oscar contenders. And while critics love Greta Gerwig, Little Women is an umpteenth remake of Louisa May Alcott’s iconic story…not exactly breaking new cinematic ground.

As for the acting categories, does anyone really want to hang their hat on Oscar racism on Jennifer Lopez and Awkwafina not being nominated?

And if the Oscars are racist now for “snubbing” Jamie Foxx and Eddie Murphy with no nominations, were they racist when they actually gave a Best Actor award to Jamie Foxx in 2004 for Ray, or nominated Eddie Murphy in 2006 for Dreamgirls?

This is why I find the woke media outrage over the Oscar nominations so vapid as it is nothing but emotionalist idiocy that is allergic to context.  

For instance, you wouldn’t know it by listening to the woke media, but if you take a look at the Oscar acting categories since the year 2000, you will find that black artists have won awards at a higher percentage than their population in the U.S. and the Anglosphere (nations with English as a primary language – U.S., U.K., Ireland, Canada, Australia). Since the turn of the century black artists have won the Best Actor and Best Supporting Actor award 15% of the time and the Best Supporting Actress award 30% of the time, which is higher than both the percentage of the black population in the U.S., 13%, and in the Anglosphere, roughly 9%.

The perception that black artists are under represented in Oscar acting wins is false, at least since the year 2000, but that sort of fact does not ignite the fury that the woke so crave and is therefore ignored.

Another ignored fact is that while there is a paucity of Best Director nominations for female directors, the category is truly a cornucopia for ethnic diversity. In the last 7 years the best Director award has gone to Mexican artists 5 times, an Asian artist once and a white American once.

Look, the Academy Awards are little more than a self-serving orgy of narcissism that never fails to fail. Anyone who takes them seriously is asking to be irritated or aggravated in one way or another. For example, I am sure that I will throw something at my television when 1917 wins Best Picture this year. But with that said, the woke turning the Oscars into little more than the diversity and inclusion Olympics will do nothing but further reduce the quality and artistry of cinema, and that is a cultural crime of epic proportions.

A version of this article was originally published at RT.

©2020

Quentin Tarantino Films Ranked Worst to First

Estimated Reading Time: 5 minutes 01 seconds

Quentin Tarantino is the most important filmmaker of his generation. That isn’t to say he is the best…just the most important. Tarantino’s distinctive aesthetic, a dialogue and violence driven stew of pop culture, spaghetti westerns, kung fu movies, film noir, pulp fiction, and satirical comedy, revolutionized movies.

Tarantino’s first film, Reservoir Dogs, hit theatres in 1992 at the height of the grunge rock revolution. Popular music was being turned upside down by the gritty, yet stylized, realism of grunge which was eviscerating the manufactured, corporate rock preening of the previous decade. Tarantino’s uber-confident brand of filmmaking was to Hollywood what Nirvana’s music was to the music industry, an artistic nuclear bomb obliterating business as usual.

Reservoir Dogs, like grunge, created a stylized, gritty realism that was fictional but seemed more true, and honest, than the fairy tale bullshit Hollywood and the music industry had been selling Generation X for the entirety of their lives.

If Reservoir Dogs was akin to Nirvana’s cult hit album Bleach, then Tarantino’s second feature, Pulp Fiction, was Nevermind. Pulp Fiction was the ultimate game changer as it was both populist entertainment, yet also an unorthodox arthouse movie, and it became an instant classic, a box office smash and a critical darling. With Pulp Fiction, Tarantino managed to resurrect not only John Travolta’s moribund career, but also give artistic credibility to Bruce Willis of all people, and catapulted both Samuel L. Jackson and Uma Thurman onto the A list.

Like Nirvana, Tarantino spawned a myriad of copycats who watered down his stylistic brand over the years that followed his breakthrough success. Like grunge, Tarantino went into a deep lull after his initial glorious burst of creativity as his follow up to Pulp Fiction, 1997’s Jackie Brown, fizzled both critically and commercially.

A new wave of independent minded auteurs hit the theatres in the mid to late 90’s, directors like Paul Thomas Anderson and Wes Anderson, and they were quickly putting Tarantino in the critical rear view mirror as the millennium closed. It would be six long years after Jackie Brown before another Tarantino film would hit the theatres, and during this time it certainly had felt like the Tarantino moment had passed.

During post-production there was a steady stream of bad press leaking out about Kill Bill, Tarantino’s Kung Fu movie. When word came out that Tarantino was going to split the film into two features to be released in back to back years (2003-2004), I thought that was a very, very bad sign. If the rumors were to be believed it seemed as though Tarantino’s ego was quickly becoming inversely proportionate to his directing ability. Then Kill Bill Vol. 1 came out…and not only was Tarantino not becoming irrelevant and obsolete…he was proving himself as the master of edgy populist arthouse American cinema. Kill Bill solidified his status of king of cool cinema who ruled over Hollywood, indie-land and the arthouse.

Kill Bill Vol. 1 & 2 saved Tarantino and Tarantino-ism, which long outlived its musical counterpart, grunge. For the next 15 years Tarantino has churned out big movies…they weren’t always great…but they were always cinematic events. No one makes movies like Quentin Tarantino, and as the years have passed people have even stopped making the type of movies Tarantino can make…big populist Hollywood movies that aren’t part of a franchise or comic book universe.

Tarantino’s career has not only survived but thrived despite his multitude of naysayers, and nowadays the naysayers include the cultural revolutionaries and revisionist historians of the woke brigade. If you read or listen to pc establishment film critics nowadays you hear them describe Tarantino the man, and his films, as “problematic”. He is accused of all sorts of things…like using too much violence and racially charged language in his films…and of filling his films with violence against women and “sex”. Even though I disagree with these criticisms, I will admit that some of these charges, such as the violence and racial language, can at least be made in good faith, but claims of violence against women and too much sex are absolutely absurd and reveal either a staggering ignorance of Tarantino’s work or a dubious and dishonest assessment of his intentions.

The point of all this is to say that, like him or not, Tarantino has cemented his place in our popular culture and in the history of cinema. To ignore this fact would be to ignore reality. With this in mind, and since Tarantino’s new film Once Upon a Time…in Hollywood, opens this weekend, I thought it would be wise to try and put together my rankings of Tarantino films.

Ranking Tarantino films is no easy task as my list is almost always in a state of flux. My top four Tarantino films are always the same, but their order can flip by the second. So this list is just capturing my thinking…and feeling…at this very moment. With that in mind…sit back…be like Fonzie and stay motherfuckin cool…and enjoy the list.

8. DEATH PROOF (2007) - Death Proof is a 2007 “exploitation horror film” starring Kurt Russell that pays homage to 1970’s slasher and muscle car movies. Death Proof is undeniable proof that paying homage to a shitty genre will result in a shitty movie. I have seen this exactly once and have zero interest in seeing it ever again. Death Proof is a bad idea made manifest which not surprisingly is a badly made, bad movie. Death Proof is what happens when you become a super successful director and no one has the balls to tell you no.

7. JACKIE BROWN (1997) - Something funny has happened in recent years where aging hipster douchebags (there is an important distinction to be made at this point…while I am aging, am a hipster, and am widely regarded as a douchebag, I am most definitely not the specific breed of monster known as an “aging hipster douchebag”) have decided that Jackie Brown, Tarantino’s homage to blaxploitation movies, is a great movie. In fact, some have gone so far as to claim that Jackie Brown is Tarantino’s greatest film. Let me be as clear as I can about this…Jackie Brown is an actively awful movie. The script is dreadful, the directing abysmal, the pacing lethargic and the acting comatose.

Jackie Brown was a Tarantino flex where he thought he could pull his Lazarus routine on some more actors just like he did with Travolta on Pulp Fiction. But this was where Tarantino’s ego got kicked in the nuts by cold hard reality. There is a reason Pam Grier and Robert Forster were, at the height of their careers, D-level movie actors…it is because they are not good actors. Building a film around such minimal talents ended with…not surprisingly…a really shitty and entirely forgettable movie. This movie was so highly anticipated and so fucking terrible it almost ended Tarantino’s career.

And if you are an aging, hipster douchebag who thinks this is Tarantino’s greatest film, I’m going to Tony Rocky Horror you’re ass and throw you out a four story window and then I’m gonna get medieval on your ass. Got it?

6. THE HATEFUL EIGHT (2015) - The Hateful Eight is a pseudo-western thriller that attempts to make grand statements on race in America all while trying to suss out a second rate Agatha Christie type of whodunnit. There are some good things in The Hateful Eight…like Robert Richardson’s stellar cinematography, particularly his glorious opening sequence. But overall…this is a terribly flawed film that suffocates under the weight of its unwieldy and impotent script.

Tarantino succumbs to his lesser instincts and ego in The Hateful Eight when he fatally undermines the archetypal, mythic and narrative structure of the film by making his “hero”, played by Sam Jackson, a male rapist. The film lacks cohesion and tension and devolves into a rather vacuous bloodbath that bores more than it repulses or titillates.

This film is a frustrating cinematic venture, sort of like being marched at gunpoint naked through a blizzard.

5. INGLORIOUS BASTERDS (2009) - This is where things start to get interesting on the list as Inglorious Basterds is at once a brilliant and yet also a troublesome film. This movie boasts the single greatest scene of any of Tarantino’s films and among the greatest in film history…the opening sequence where SS Officer Hans Landa question a French farmer, Monsieur LaPadite, in his farmhouse. The film also boasts the masterfully tense and taut “basement bar” scene which is a thing of cinematic beauty. In contrast it also has some awful scenes, like the Mike Myers scene and the climactic orgy of ridiculous Hitler slaughtering violence in the movie theatre.

On the bright side the movie boasts tremendous performances from Christoph Waltz (as the aforementioned Landa), Michael Fassbender and Brad Pitt but on the dark side it is saddled with the single worst performance ever in a Tarantino film…the utterly abysmal Eli Roth as The Bear Jew is excruciatingly awful and set the art and craft of acting back centuries.

The thing I disliked the most about Inglorious Basterds though was that it came out during a time when the torture of “enemy combatants” in the war on terror was being debated and it very surreptitiously acted as a piece of vociferous pro-torture propaganda. Anyone who couldn’t see the Manichean philosophical underpinnings of beating captured German soldiers to death with a baseball bat being equivalent to torturing Muslims in Guantanamo Bay or Bagram or Abu Ghraib is being willfully obtuse. And it should be noted here that the German soldiers in the Wermacht getting their skulls bashed in and being scalped by "The Basterds’ were not Nazis party members. Some may see this as a distinction without a difference, and Wermacht complicity and guilt is a contentious historical debate, but considering the context of the torture discussion when the film was released, I find this distinction of note.

Another thing that bothered me about the film was that it was, at its core, nothing but a Jewish revenge fantasy. of course, there is nothing wrong with a Jewish revenge fantasy, in particular a Jewish revenge fantasy against Hitler, who certainly deserves whatever horrors we can imagine for him, but what felt uncomfortable to me was that in Tarantino’s case his revenge fantasy felt manipulative and pandering. Context is important here, as Tarantino is not Jewish, but even though you are not allowed to say it, the majority of Academy members and studio heads are and it felt like Tarantino was trying to make a movie to shamelessly pander to them in order to win an elusive Best Picture and/or best Director Oscar.

Bottomline is this…as great as Inglorious Basterds can be, its failures make it an uneven cinematic experience. Of all my conflicting feelings over this movie, the most overwhelming one is my impulse to bash Eli Roth’s head in with a baseball bat after taunting him with a dreadful Boston accent.

4. DJANGO UNCHAINED (2012) - Some would argue that Django is, like Inglorious Basterds, just a revenge fantasy, except this time for African Americans against slavery. I think this point is terribly off the mark. Yes, there is a certain level of revenge fueling Django Unchained, but the archetype driving the film is not revenge but love, as Django Unchained is a mythic love story. Django is not fighting for any grandiose principles or objectives like freeing the slaves or to punish slave owners, he is just trying to get back to his wife and save her. In contrast, Inglorious Basterds is NOTHING BUT a revenge fantasy where love is nowhere to be found.

Django Unchained is, like the other films in the top four, a masterpiece in its own right. This movie is a thrilling and exhilarating ride that only suffers from one minor (although it felt major at the time) lull, and that is when Tarantino himself is on-screen as an Australian slave trader. As great a movie as this is, and it is great, Tarantino’s sloppy and narcissistic cameo nearly scuttles the entire enterprise.

That said, the film highlights exquisite and sterling performances from Jamie Foxx (easily the best work of his career), Christoph Waltz, Leonardo DiCaprio, Kerry Washington and Samuel L. Jackson. The film was pilloried for its use of violence and exploiting slavery for entertainment, but these criticism hold no water. The violence in the film is cartoonish…except when it involves slaves…then it is handled with brutal realism and gravity. Tarantino’s dance between the polar opposites of his entertaining, over-the-top violence and acknowledgement of the horrors of slavery is actually very well-done and shows a deft directing touch.

if you ask me on another day I may say that Django Unchained is Tarantino’s best film…but today I put it at #4. Even though I have it at #4, make no mistake, it is a first ballot hall of fame movie.

3. RESERVOIR DOGS (1992) - There are times where I have Reservoir Dogs as the top film in this list…and even more times when I have it ranked ahead of Pulp Fiction….but today isn’t one of those days. Like Django Unchained, Reservoir Dogs is a first ballot hall of famer.

This movie hit theatres like a hand grenade and launched Tarantino as a serious auteur. This staggeringly confident film is like a neo-noir stage play set in this well-defined but not overly explained universe where thugs, hitmen, cons and shady people all live and work. This world is not real but is so thoroughly put together it feels hyper-real.

The low budget for the film adds to its mystique and highlights Tarantino’s real talent as a writer and director. The rawness of the movie is part of its great appeal.

Harvey Keitel, Tim Roth, Steve Buscemi and Michael Madsen all give stellar performances and Tarantino’s script is explosively good. His use of music, camera movement, pop culture dialogue and violence make for a combustible and compelling feature film debut for Tarantino.

A truly great movie and an instant classic that launched Tarantino’s journey to the top of Hollywood’s Mount Olympus.

2. PULP FICTION (1994) - Pulp Fiction garnered Tarantino a Best Original Screenplay Oscar, and rightfully so. This script crackles with life and is a master class in world and character building. The terrific script is elevated even more by sublime performances from Uma Thurman, Samuel L. Jackson, Harvery Keitel, John Travolta, Christopher Walken and even that dullard Bruce Willis.

Tarantino’s ability to mess with narrative structure, to masterfully use music and pop culture as reference points and his exquisite ability to place multi-dimensional characters into a palpably real but entirely manufactured world, is what makes Pulp Fiction the iconic film that it is.

Pulp Fiction reinvented the Hollywood film, and for good or for ill, forever changed the movie industry. It is the type of film that if you stumble across it on cable, you will sit and watch it from any point in the story through to the end.

1. KILL BILL VOL. 1 & 2 (2003-2004) - I realize I am in the minority on this but I think Kill Bill Vol. 1 & 2 combined is the greatest Tarantino film….it is certainly my favorite.

Some have accused these films of exploiting and encouraging violence against women, this strikes me as a short cut to thinking. Uma Thurman is the lead in the movie, she is an action hero, she is beaten, shot, stabbed, you name it. Just because violence happens to a women doesn’t make it misogynist…and in this case the exact opposite is true. The weak kneed, mealy mouthed woke clowns who claim this film is misogynist should ask themselves…are the Lethal Weapon movies anti-male because Mel Gibson gets the crap kicked out him in every movie? No, of course not. Tarantino empowers his female lead, an astounding Uma Thurman as The Bride/Black Mamba, to be an action hero not despite of her gender…but because of it…and that is not misogyny.

Like Django, Kill Bill is on its surface a revenge story but in its soul is a love story. The love is that of a mother for her daughter. Thurman’s Black Mamba character is unconsciously tracking down her daughter while consciously slaying all who are impediments to her maternal bond.

The brilliance of Kill Bill is in the world and character building. Tarantino’s kung fu world is populated by ninja and samurai assassins with distinct and specific histories and motivations. A rich, textured, vivid and vibrant creation that is Tarantino at his very best.

In conclusion, while there are some misfires, like Death Proof , Jackie Brown and The Hateful Eight, Tarantino has over the span of his career been a must-see filmmaker who has heightened the craft of moviemaking while celebrating the art of cinema.

The bottom line in regards to Tarantino’s best movies is this…you simply can’t go wrong with Kill Bill, Pulp Fiction, Reservoir Dogs and Django Unchained in any order, as they are among the very best films of the last thirty years and are monuments to Tarantino’s unique vision and singular genius.

The question now becomes…where does Once Upon a Time…in Hollywood rank in Tarantino’s canon? My verdict will be in shortly, but in the mean time why not go re-watch Django unchained, Reservoir Dogs, Pulp Fiction, Kill Bill or even Inglorious Basterds, as a primer before you see Tarantino’s newest offering. It will get you into the Tarantino spirit and you will not be disappointed.

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