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Reservoir Dogs
Crime, Drama, Thriller, Mystery
IMDB rating:
Quentin Tarantino
Harvey Keitel as Mr. White - Larry Dimmick
Tim Roth as Mr. Orange - Freddy Newandyke
Michael Madsen as Mr. Blonde - Vic Vega
Chris Penn as Nice Guy Eddie Cabot
Steve Buscemi as Mr. Pink
Lawrence Tierney as Joe Cabot
Randy Brooks as Holdaway
Kirk Baltz as Ofcr. Marvin Nash
Edward Bunker as Mr. Blue
Quentin Tarantino as Mr. Brown
Steven Wright as K-Billy DJ
Rich Turner as Sheriff #1
David Steen as Sheriff #2
Tony Cosmo as Sheriff #3
Storyline: Six criminals, who are strangers to each other, are hired by a crime boss Joe Cabot to carry out a diamond robbery. Right at the outset, they are given false names with an intention that they won't get too close and concentrate on the job instead. They are completely sure that the robbery is going to be a success. But when the police show up right at the time and the site of the robbery, panic spreads amongst the group members and one of them is killed in the subsequent shootout along with a few policemen and civilians. When the remaining people assemble at the premeditated rendezvous point (a warehouse), they begin to suspect that one of them is an undercover cop.
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I still don't get it
People sure love this movie. I have a friend who says that it's good because of the ear-slicing scene; most directors would cut away from such violence entirely, but here, we get to see the aftermath of a maiming. Well yeah, "Reservoir Dogs" does push the envelope - but towards what? Should we really praise a movie just because it wallows in violence more willingly than its predecessors?

My ex-girlfriend says this is a Greek tragedy. If that were true, the violence would be entirely justified, because it would help elevate "Reservior Dogs" to the level of an enlightening commentary on human nature. Alas, none of the characters is particularly noble; they start off as low-lifes and have nowhere to fall. So, that defense doesn't seem to work either.

In short, people have long tried to convince me that this is really a masterpiece. But even the best parts - such as the opening dialogue in the restaurant - seem artificial and engineered. Tarantino is ripping off older, better films and directors wholesale. There are shades of "The Taking of Pelham 123" here, and there's also a dash of "The Omen" at the end. Hitchcock, Frankenheimer, and even John Carpenter did this kind of stuff before, and they did it better. No doubt Tarantino was a breath of fresh air after the shallow era of 1980s action movies, but he was not much of an innovator, and I don't think that his super-cool style has stood even the shortest test of time; he has, after all, practically dropped off the face of the earth.

Pure undiluted crap
Vintage Tarantino. Totally boorish, tasteless, boring, repetitious, tedious & moronic. Everything his loving audiences deserve.
A true classic on its own right...
It seems that it was only yesterday when in 1992 the then unknown director Quentin Tarantino screened his debut film, "Reservoir Dogs", at Sundance with great success suddenly becoming the new star of independent cinema and an the most promising director of that "class of 1992". Of course, later came "Pulp Fiction" and what started as a phenomenon within the indie scene became a worldwide success starting a trend of imitators and making Tarantino a powerful figure in Hollywood. But despite the rights and wrongs of Tarantino's career, the groundbreaking "Reservoir Dogs" is a fine example of excellent cinema and a classic of the 90s on its own right.

The plot begins with two criminals, codenamed Mr. White (Harvey Keitel) and Mr. Orange (Tim Roth), arriving to an abandoned mortuary. Orange is badly hurt, and soon we discover that they are members of a group of criminals hired to make a robbery, and that the crime went wrong when the police showed up ending in a shootout where the two of them barely escaped alive. After another survivor, Mr. Pink (Steve Buscemi), arrives, the group realizes that they were set up by an infiltrated agent, but since only their boss knows the details about them (including the real names), anybody in the room could be the traitor. Finally, the arrival of another member, Mr. Blonde (Michael Madsen), complicates the plot, as the other three are sure that he is the one who betrayed them.

Without a doubt, "Reservoir Dogs"' greatest strength is in the remarkably well-written script by Tarantino himself. The four main characters are fleshed out in a way that makes them very real, very human; each of them with a distinct series of personal traits that one can't help to feel that you know really them (something ironic, considering they are supposed not to know each other). The whole situation, built as a heist film where the heist is never seen (only told via flashbacks), makes these four personalities collide and actually the relationships between them become the point of the film itself. It's not about the crime itself, but about the criminals who committed it.

Tarantino's skill as a director is nowhere near his skill as a writer, but still he creates a very stylish film letting all his influences flourish, particularly the french new wave and classic noir heist films. Although it's safe to say that here they don't become as blatant as in this later "genre tribute" movies "Jackie Brown" and "Kill Bill". With very simple, but effective camera-work and a great use of incidental music as a soundtrack, Tarantino crafts a superb film despite its budgetary limitations shows a very promising talent with huge potential as a filmmaker.

The four main characters are wonderfully played by a very effective cast of actors. Harvey Keitel (who also produced the film) shows off his talent as the experienced Mr. White, who becomes some kind of paternal figure to the newbie Mr. Orange, in another of Tim Roth's excellent performances. Steve Buscemi gives his usual high quality work and the cast is completed by a Michael Madsen with tremendous presence and total control of the screen. Supporting characters are played by the very effective Chris Penn and Lawrence Tierney. Convict-turned-author Eddie Bunker and Tarantino himself appear in small roles with mixed-up results (Tarantino is not really a good actor).

The film is remarkably well-done for its budget, and despite being set almost entirely in a single room, it never feels tiresome or boring. Tarantino's violent crime drama has hold up well and personally, it rivals his follow-up, "Pulp Fiction", and at times it surpasses it. Some minor flaws include Tarantino's own lack of acting skills and an use of violence (not graphic, but somehow disturbing) that may be excessive to some people (although it fits perfectly within the movie's theme and atmosphere). Almost a flawless film.

Wheter one loves or hates Tarantino becomes meaningless at judging this film, its qualities makes it speak for itself as one of the best movies about crime ever made. It's hard to dismiss its raw power and creative craftsmanship. Maybe not a perfect film, but definitely the closest Tarantino has been to make one. 9/10
This Little Doggie Bites
Reservoir Dogs is the debut film of director Quentin Tarrantino. While its not a masterpiece like his later effort Pulp Fiction. For a first time effort coming from a video store clerk who didn't go to film school, this is a remarkable achievement in the world of independent cinema.

The storyline is simple. Crime lord, Joe Cabot and his son "Nice Guy" Eddie have arranged a diamond heist. To cover their tracks, they hire several associates who don't know each other personally and thus can't give information out in case they get arrested. These associates are Mr White (played by Harvy Keitel), Mr Pink (played by Steve Buscemi), Mr Orange (Tim Roth), Mr Blonde (Michael Madson), Mr Brown (in a cameo by Quentin Tarrantino) and Mr Blue (played by real life former criminal Eddie Bunker). The heist immediately fails ending with a massacre that leaves Brown and Blue dead, Orange has been shot, leaving it to others to figure out who snitched them. What makes the plot interesting is not in the story itself but how it's told. When discussing mainstream cinema, Andy Warhol said that "All the interesting bits of a film are left in the cutting room floor". Reservoir Dogs is the anti thesis of Hollywood filmmaking. Yes, the heist happens but we don't see it. What we get however, is the events that happen before and after, feeding enough details to figure out what happened.

This is Tarrantino's skill as both story teller and director, he can make details or characters we don't even see seem significant. Part of this is easily attributed to the excellent script. This is where the dialogue deserves a special mention. In an ordinary film, the dialogue is typically used just to explain the plot to the audience. Tarrantino breaks this rule by letting his characters converse from Brown's graphic explanation of Madonna's "Like a Virgin" to the humorous interaction between Eddie and Blonde. By avoiding the usual traps that plague Hollywood films, Tarrantino manages to make a movie solely dedicated to its characters and their knee jerk reactions to the heist.

Raising the mark even further for the film is the carefully chosen ensemble cast. Harvey Keitel is superb as Mr White. His skills shine in the films early scenes where he shows his empathy with the dying Mr Orange. One might say that this portrayal is almost the exact opposite of the typical hardened criminal.

Michael Madson, whilst having a limited screen time delivers the films most infamous scene as Mr Blonde, a psychotic criminal who is both brutal and cool. His dry deadpan delivery sets up most of the films tension. Perhaps the most memorable performance however goes to Steve Buscemi as Mr Pink. Out of the entire cast or characters, Pink is the most interesting which is ironic given that he is the only character we know nothing about. Buscemi manic performance proves equal match for Pinks loyalty and concerns about what is "professional" in the crime world. It is the films finest and most articulated performance. Reservoir Dogs is still not perfect though and I wouldn't recommend it to all people. For starters, Tim Roth's performance as Mr Orange while strong suffers greatly from his constantly slipping vernacular. You won't be sure is he's Italian American Mafioso, a street wise kid or simply a whiny brat. Thankfully, his most of his dialogue is kept to minimum as he spends much of his screen time lying in a pool of blood. Secondly the level of violence in this movie is bloody and gratuitous, peaking at the torture scene which was reportedly disturbing enough to prompt several people to leave the theatre. Yes the film is violent, but in the stylized way of the Hong Kong films that inspired it. Thirdly, the film is full of enough profanity laden dialogue to fill a text book. I don't actually mind it though, as it makes sense given that these characters are p*ssed off at the failure of such a carefully planned heist. But if you cant stomach excessive bad language, then isn't the film for you. These arguments should not be seen as detractors to the film though. Would I recommend Reservoir Dogs? That depends. If you're a cinephile, a pop culture fanatic or just want to see a refreshing film, by all means do. If however you're a concerned parent who wants to see something with the children or someone who cant stand such graphic violence and language, then avoid it all costs. Make no mistake though, this is a fantastic film that paved the way for the way for the career of a talented director.
A timeless classic...seriously
The first time I saw Reservoir Dogs, I was about 15, it had been banned in my country, and I heard it was extremely voilent. Naturally I did everything in my power to get my paws on a copy, and when I finally did see it, I was disappointed. I was just sitting there saying "Wheres all the violence", Anyway, I watched it till the end, and then I watched it again, and since then it has just grew on me.

This is one of the movies I don't get bored watching time and time again. I still watch it at least once a year, because its not the kind of movie you watch to unwind or to pass the time. You simply watch it for the sheer quality and originality of the movie. The one liners are classic: "Are you gonna bark all day...", "I'll make you my dog's bitch". Mr.Blonde is totally believable as a psycho. I mean who stops to get fries and soda just after committing a robbery? The fact that everything is ludicrous, but you don't know this because these guys, and the way they talk is so impossibly cool that you just accept it. This movie is all about the dialog. The violence is used sparingly, and to better effect. The way the film is edited is genius. Its almost like you forget the whole movie after you watch it, and the next time you watch it, there's a whole scene that you forgot was there. The storyline is unpredictable and thrilling. This is better that Pulp Fiction and in my opinion definitely Tarintino's best movie. I didn't care much for the "Kill Bill" movies, but who cares, I'm not reviewing them.

If you haven't seen Reservoir Dogs, just rent it, buy it or steal it right now.
A stylish and excellent example of expert story-telling.
After watching this half a dozen times with a biased, anti-Tarantino, "what the heck is so great about this guy, anyway" view(which, as most anyone watching any film with that view and a fair bit of self-knowledge will tell you, is a rather fruitless practice in pointlessness... if you've decided you're not going to like it, there's very little reason to think that you will, no matter how good it is; you need an open mind), I finally decided to give it a fair hearing... and I saw it for what it is. An unusual film, at least for its time. A stylish film full of cool dialog, cinematography, editing and music. The whole thing comes together perfectly and is very short of creating a sublime film experience. The plot is excellently written and told. The pace is perfect. I wasn't bored for a second, nor did I ever really want it to move faster or slower. The cinematography is magnificent, and incredibly well-integrated. Pans, dolly trips and, lest we forget, the stationary shots... all perfectly used. Very stylized. The acting is top-notch all-round. With most of the cast being name actors, this is no surprise, but they really do shine. Madsen, Buscemi, Keitel, Roth... all incredible. The one role that had less than good... well, let's be honest, it had rather awful acting. I'm speaking, of course, of Tarantino's character. Now, don't get me wrong; in From Dusk Till Dawn, this man did great. But just about any other time I've seen him act, he just doesn't seem to have the first clue. Being a film-maker myself(albeit on somewhat of a smaller scale than Quentin), I can relate to wanting to cast yourself in a role... but sometimes, you just need to face up to the facts, and admit it if you can't act. Still, that is a minor complaint. Another one might be that there are at least two fairly big characters that seem completely and entirely expendable... they had no real role in the action and could very, very easily have been cut with no real loss to the overall product. I won't name them here, but anyone who's seen the film will know who I'm talking about. All the characters, however, are well-written and their actions credible. Tarantino knows his stuff when it comes to writing... something that also shows in the dialog, which, although somewhat drawn-out at times, is exceptional. Well-delivered, too. When it comes to direction, he shows how talented he is, as well. The film is very well put together. The editing is great, with the non-linear time-line telling the story far better than a "regular" film ever could. One of the many Tarantino-fans, in fact, the very person who originally talked me into watching this film, once told me that he had heard of someone editing films with such time-lines - this, Pulp Fiction, Memento, etc. - so that their time-lines were perfectly linear. I'm sorry, I entirely respect their right to do such a thing... and I won't claim that their doing so has less artistic value than the original films in any way... but I refuse to watch that. A big part of this being so well-told lies in the time-line. Also, I'm a firm believer of watching something the way the makers intended it. Don't edit, don't censor, don't make your own version and pass it off as anything but just that... your own version, and not the original. Sorry, rant over. Finally, I just need to comment on the music... the soundtrack of this is just great. Tarantino collected so many amazing 70's tunes for this film and used them great. All in all, just a really, really good film. Very little keeps this from being a perfect ten, most of which I've covered here. I recommend this to anyone who can stomach the violence and who likes their films with a side of style. 8/10
A feast for the senses and a famine for the soul!
Wow! What can I say... the wife picked up this gem in a mad rush from the local video store. Which is to say she didn't read the cover jacket warning in time! Hence, we got to be intrigued and disgusted, pretty much in that order.

I was OK with the dialogue, which is intriguing -- like one of those conversations where you're privy, but you don't open your yap because it's too damn interesting to interrupt.

But, then things went horribly, horribly wrong. Now, don't get me wrong -- I like a good blood-spattered, pleading-victim, grinning-sociopath, sadistic torture scene as much as the next man. NOT! Apart from the rest of the blood and gore, which is excessive (much like watching open-heart surgery), the torture scene just got way too up close and personal for my taste.

Reminds me of when we used to play 'Look!' You know, you chew up your food and say, "Wanna play 'Look?'" Then, you open your mouth to a disgusting view of partially-chewed carrots, peas and corn and scream 'Look!' If you're lucky, your little brother faints or at least heaves.

Well, apparently Quentin seems to think this is a way cool technique in the cinema. Duct-tape the victim to a chair and pull out the old straight razor! 'Look!' Apparently, a lot of folks think Quentin is way cool, too, judging from the many favourable reviews of this gore-fest. And, wow he uses the 'N' word, too. He's sooo deep! This movie has a lot of interesting little novelties that are worth checking out. But, the gore is over the top. Have your finger on the fast-forward... and make sure the kids are in bed.
Easy on the kudos, everybody. Read and learn.
If I read one more brainless Tarantino-phile's thoughtless salivation over this most over-rated rip-off, I think I'll vomit.

Very little has been made of the fact that this movie was totally ripped off from Chow Yun Fat's City On Fire. I've seen that movie, and take my word for it, Dogs is borrowed from bottom to top, from the heist gone wrong because of a trigger-happy sociopath, to the ring of diamond thieves infiltrated by a hotshot young undercover cop, to the relationship between the cop and the experienced professional, to the warehouse rendezvous, to the cops waiting for them there, to the curiously sympathetic professional tending to the wounded cop, to the "Mexican Standoff" (?) between the boss, the professional, and the boss's toadie. Hell, even the professional dicing policemen in their car with two semi-automatic pistols was straight out of City On Fire. So much has been made of the Scream rip-offs and Die Hard rip-offs, well, where's the uproar here?

Somebody mentioned that Keitel ties the movie together with "spooky" calmness. What movie was he watching? The Piano? It looked to me like Keitel was channeling Pacino, screaming constantly and making wild gestures. I kept waiting for Eddie to slap him.

I am soooooo sick of everybody talking about Michael Madsen's "great" performance as Mr. Blonde. Michael Madsen always plays the same tough-guy cliche, good guy or bad, and his performance in this isn't any different than those in The Getaway or Donnie Brasco. I think anybody could've played this part more interestingly. The part was written to be disturbing, and Madsen really didn't add anything to that. I would've much rather seen Buscemi or Keitel as Mr. Blonde.

The lame bear-claw joke fell flat in what was an otherwise humorous movie. It was about as out of place as Tarantino's pitiful portrayal of Mr. Brown. He's the only "actor" I know that can screw up a bit part.

Just how was Mr. Blonde gonna deal with the enormous fireball that lighting several gallons of gasoline in a tight warehouse would create? I know that he was "crazy" and all that, but it seems like a robber on the lam wouldn't want to send huge clouds of black smoke billowing out of his hideout.

Would it really be a good idea to sit in a fairly busy restaurant looking rather suspicious in your robbery duds the morning of the big heist? I know it's LA and all, but even as a restaurant patron, I would've noticed six bad-asses in cheap black suits, a fat redhead wearing a somewhat ironic jogging jacket, and an old mafia-type, sitting at one table, carrying on loudly about Madonna.

Mr. Orange was the highlight of this movie for me. His disgust at Marvin crying about how he'll never look right again was an acting triumph, and the look of sadness on his face as White murdered the cops in the car (far more interestingly explained in the script) was similarly heartfelt. Why haven't we seen more of Tim Roth lately?

I can't deny my enjoyment of this movie in spite of my extensive complaints, though it doesn't deserve the praise that unknowing moviegoers give it. Tarantino will always be, to me, a creatively constipated bad actor who got very lucky. My guess is that his skillfully-written dialogue comes from snippets of conversation he's heard here and there. I rate this a 6, 2 if you factor in that it was absolutely plagiarized.

Still its a joy to watch!
This is one of those classic movies that have aged very well. I watched an anime named Baccano which I really liked and I wanted more things like that then I read about how Baccano was inspired by Tarantino's style so I decided to go ahead and watch this movie and I gotta say its excellent. Its each and every dialogue is just there to entertain you and it does its job pretty well. I never found myself getting bored and always eager to see whats next. The non linear style also adds to the fun and I really like this type of movies which are like a puzzle which we can solve as we go along the joy filled ride!
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