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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.

It's not the pieces, it's the drive
A great creative insight is to take things that we think of as separate and contained (like 'art', 'genius', or 'ideas') and realize how they are fluid and inter-dependent, conditioned by factors. This is not to expose anything as little, deconstruction for its sake; it's to show them to be doable, that a road leads up to them. (It's also one of the three main areas of Buddhist practice)

One obvious way to do this would be to take this and note the many influences. This has been done to death already, every bit that Tarantino hoped to keep packed or wanted us to find out has been laid out in the open. But I don't think it's the influence the makes it.

Another way would be to see that it doesn't (can't?) work the same way as it did when new because all the change is behind us, made more ordinary by slavish followers. The moments of simple banter away from plot, the fooling round with edges of story without showing the main center-piece, bleeding on a floor, following Mr. Blonde outside to pick up a can of gasoline, Tarantino was probably proud that he was being "real", making a radical break from Bruckheimer's Hollywood.

It's bits and pieces of Godard, Cassavetes, Altman, and others. To see it now in this context shows it as theatric, not "real" at all. (The least theatric acting is by the bound cop. Roth is just woeful.) It's The Killers, with the violence and gum pop visuals as typical to see as The Killers was typical without them in its own time.

I'd like to settle for something else that brings us to real influence of a deeper kind.

Everything you see here is coming from a young guy who was at the best possible time in his life, lifted from obscurity and everything was beginning to click into place beyond expectation. Can you imagine how giddy he must have been to hear yes from Keitel and here's a check?

It's Tarantino coming in from the outside as someone young and eager to make a dream come true; it's bursting with energy but disciplined, kept in check by not having everything at your disposal, being the new kid on set. It would be nothing without this energy.

It's also Tarantino being rooted in his own world as he brings the dream alive, suburban LA. None of the story has any outlet into real lives, it's all bounced around movie cutouts. Gangsters showing up before a heist for breakfast in tuxedos? It's a video clerk's imagination cruising through his own world. He has guys exchange banter about a stripper from Palos Verdes, Roth improvise a story about buying weed the summer of '86.

So this is the most vibrant sense I get, someone making it, not having to prove himself because he's there, making a movie with name actors around town, relaxed and fired up at the same time. It's no masterpiece but the whole film breathes that relaxed excitement to me.

His next one would be the apogee of this path. It can also be traced to the 30 year old who had flown himself to Amsterdam to write away from home like a Hemingway, living the dream. Everything happening. A marked contrast to his middle-aged self.
A simple story told in original way
What is good about this movie? Probably the same things what makes other Tarantino's movies good: great soundtrack, good actors, stylish direction and of course - violence (actauly there was only one scene which I would call really violent). The plot is pretty simple but it's portrayed out of chronological order (just like in Pulp Fiction). Probably that is what makes this movie different. Also everything in a movie looked pretty realistic (like violence) and all characters acted very natural (there were many memorable dialogs, so you could know each character better). This movie is very original, stylish and worth your time.
Suspicion and paranoia overwhelm a band of criminals after a tightly plotted heist goes sour in this feature film debut from Quentin Tarantino. The film is built on an interesting dynamic with none of the robbers actually knowing one another since they were all hired by a third party, given code names and were told to not tell each other their true identity. How much can they really trust each other's word and could one of them be a police informant? Intriguing as all this might sound, one's mileage with the movie is almost certain to vary depending on one's tolerance of the dialogue-heavy script. While some of the violence is quite brutal, there is precious little of it as the film mostly consists of the characters bantering back and forth, which unfortunately has a tendency to feel repetitive. The imbalanced time spent on each criminal's background feels a little odd too with some of them far more developed than others. All that said and done, the revelation of the police informant's identity is very well done and the second half of the film has many intense moments. The final few scenes are especially memorable with an outcome that resonates in the mind long after the film is over.
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!
One of the worst movies ever made
This repulsive, reprehensible trash for Quentin Tarantino has to rank as one of the worst movies ever made. When I wasn't bored to tears by interminable dialogue, I was repulsed by the glorification of sadism as an alternative life-style. The Marquis De Sade would have been proud. Tarantino should put his talents to suitable use and just make a real 'snuff' film. See 'Clockwork Orange' instead. That is a work of real genius.
A Disgusting piece of GARBAGE!
What is wrong with Quentin Tarantino? The guy thinks of nothing but vile, despicable violence. His worst piece of trash is Natural Born Killers, but piece of crap..Reservoir Dogs is really disgusting. But what is more disturbing than the film is how so many people revere it. What have we come to? This film made me gag and want to throw up. What possible message comes from a film such as this? All I can say is God help us!
" War is an Argument which got out of hand "
Director Quentin Tarantino has an exceptional ability to create action films like this one called "Reservoir Dogs." It is sure to rank among his very best. The script and it's dramatic storyline throughout the entire movie is a visual compendium of 'Waiting for Godot' meets 'Slaughter on Tenth Avenue.' Anyone seeing it for the first time is in for a real treat. The story is of an experienced gangster who attempts to create the perfect crime. Its simple enough, collect seven of the most professional and trustworthy men in the business, assign them code names, tell them just enough about the crime to do their part, snatch the haul, then rendezvous in a warehouse after the job and split the take. The men selected are top of the line actors like Lawrence Tierney as the Boss Joe Cabot, Harvey Keitel, Michael Madsen, Steve Buscemi and Chris Penn. Like the best laid plans, the unexpected was not included and therefor becomes the focus of a violent shouting match with guns. Between themselves, the heist should have worked, why it didn't has much to do with the body in the trunk (Kirk Baltz) and will have them at each other's throats trying to fathom the reason. The final segment of the film makes it the most exciting climax since the shootout of the Wild Bunch. With dramatic flair and an excellent, but violent dialog, this incredible film will become a Classic. ****
Tarantino's best work ever
This was and is, by far, Quentin Tarantino's best work ever. I could care less about Pulp Fiction, that was a decent movie that did well commercially but this one is his crowning achievement.

This movie is well arranged. The Dialogue IS the movie. You can sit and turn the picture off on this one and the audio itself tells the story. The Music is absolutely great and well chosen. The acting was not extremely great, but that itself was also a masterstroke. The budget was small, the sets almost non existent, yet Tarantino created a wonderful piece of film making art, and assembled a cast worth watching. There was plenty of dark comedy mixed with the signature violence and blood that always accompanies Tarantino.

The Characters have no names and are introduced only as colors, and that is one of the best scenes of this movie. It is a perfect blend of comedy, violence, crime, character development, plot, all told in a unique and intriguing way.

Tarantino will probably never make a movie as well as this one again. He now basks in his own cult following and his love of bad B horror of the 1970's, and seems content in giving us horrible movies, bringing back a genre that nobody ever wanted to see (except really crazy people that rarely get out of their own basements) and there was a reason Hollywood stopped making.

I say celebrate this one outstanding movie and remember Quentin when he used to be a decent film maker.
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.

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