The Theater of Tarantino

There are plenty who love him, whilst there are equally as many who loathe him. Despite what one may think of Quentin Tarantino's films, you cannot deny that he sparks up a global wave of controversy whenever he decides to shoot and release a new film.

There are many who believe that his features romanticize and glorify violence. That his films depict mass bloodshed as nothing more than a superficially stylistic art form. As expected, these claims send the over-protective parents and easily outraged Daily Mail readers/journalists into a frenzied overdrive that gives their moral compasses an overly-endowed ethical hard on.

There are also plenty who believe that Tarantino's work is an audacious and ostentatious attack on the very concept of censorship itself. They are usually (but not necessarily always) the liberal minded and the young; people who like to metaphorically stick their middle finger up at the authorities and voices who oppose such models of entertainment.

So is Tarantino breeding a generation of blood thirsty monsters who will one day pull the very foundations of society to the ground, or is he delivering glossy pulp flicks to the mainstream public; void of the censorship banner which is often strapped over the popular cinematic release of Hollywood?

Well, if I'm honest,  I have no idea, and as dreadful as it may sound, I often don't really care; not when viewing his films anyway. His films are fabulously entertaining to me and I've yet to meet anyone who's caused harm to another after seeing a mexican standoff that took place in a dreamed up WWII period bar between a group of fictional Nazis and Michael Fassbender doing a posh English accent

Tarantino's films are some of the most enthralling, electrified films of the past 25 years. His self contained set pieces are possibly some of the most unforgettable scenes of modern movie history. Whether it's Pulp Fiction's insanely gripping cheese burger sequence; Reservoir Dog's Mr Blond hacking the hell out of a cop's ear whilst listening to Stealers Wheel's  Stuck in the Middle with you; the terrifying prologue scene to Inglorious Basterds; the blood soaked climax to Kill Bill Vol.1 or the sequence in which the Bride is horrifically buried alive in Kill Bill Vol. 2; all of them feel like their own self contained mini movies, co-dependently existing within the mother narratives of these motion pictures.

These are the moments we have come to expect from a Quentin movie. Those golden seeds of brilliance burn themselves into the back of the viewers' minds. These are the scenes which build endlessly in their pressure, only to erupt at the final moments into scenes of anarchic moments of violence and death. Such moments are the core ingredient which makes a Tarantino film what it is.

And then there is the creme a la creme of your classic Quentin flick - the dialogue.

Everyone and their pet dog's litter of puppies has heard about this man's notoriety for writing slick, smart and sexy dialogue; but it really is something which needs to be heard to understand the sheer power that can stem from such a melodious arrangement of the English language.

All of his films are stuffed with volcanic bouts of one liners and animated discussions which are capable of transforming even the most humdrum and lifeless of conversations into the liveliest forms of chitchat the human ear has ever had the privilege of experiencing.

His ability to transform communal chitchat into shimmering poetry is simply mind bending. Every word, every response and every synonym has been perfectly plucked from the tree of linguistics; delivering scenes of vocally carved witchcraft.

Everything about a Tarantino film has an intense whiff of  the theatrical about them. The jazzy outfits, kaleidoscopic sets, lyrical monologues and self contained set-pieces makes this director's body of work resemble that of the theater.

There maybe opposing sides who will label me a buffoon for thinking such high thoughts toward this man, however I shall not be swayed.

His work is fucking awesome.