Reservoir Dogs

Description

Product Description Former video store clerk Quentin Tarantino's directorial debut, RESERVOIR DOGS, is a brutally funny, supercharged introduction to his supremely distinct cinematic vision, which was later to become one of the most mimicked styles of the 1990s. Mastermind Joe Cabot (Lawrence Tierney) assembles a crew of top-notch criminals to pull off a jewelry store heist. As the film opens it becomes immediately clear that the plan backfired, forcing the survivors, who have gathered at an abandoned warehouse, to figure out if one of them is, in fact, a police informer. The crew Mr. White (Harvey Keitel), an aged veteran; Mr. Orange (Tim Roth), a wounded newcomer; Mr. Blonde (Michael Madsen), a psychopathic parolee; Mr. Pink (Steve Buscemi), a bickering weasel; and Nice Guy Eddie (Chris Penn), Joe's son begin to unravel as the pressure becomes too much for them to handle. When Joe arrives, the truth becomes clear in a vicious Mexican standoff.Tarantino takes liberally from Hong Kong action flicks, most notably Ringo Lam's CITY ON FIRE, but his ultra-hip '70s soundtrack and hysterical pop culture dialogue make the film seem wholly original and new. Taking a cue from the French New Wave most notably Jean-Luc Godard RESERVOIR DOGS remains one of the decade's most influential motion pictures. desertcart.co.uk Review Quentin Tarantino came out of nowhere (i.e., a video store in Manhattan Beach, California) and turned Hollywood on its ear in 1992 with his explosive first feature, Reservoir Dogs. Like Tarantino's mainstream breakthrough Pulp Fiction, Reservoir Dogs has an unconventional structure, cleverly shuffling back and forth in time to reveal details about the characters, experienced criminals who know next to nothing about each other. Joe (Lawrence Tierney) has assembled them to pull off a simple heist, and has gruffly assigned them color-coded aliases (Mr. Orange, Mr. Pink, Mr. White) to conceal their identities from being known even to each other. But something has gone wrong, and the plan has blown up in their faces. One by one, the surviving robbers find their way back to their prearranged warehouse hideout. There, they try to piece together the chronology of this bloody fiasco--and to identify the traitor among them who tipped off the police. Pressure mounts, blood flows, accusations and bullets fly. In the combustible atmosphere these men are forced to confront life-and-death questions of trust, loyalty, professionalism, deception, and betrayal. As many critics have observed, it is a movie about "honor among thieves" (just as Pulp Fiction is about redemption, and Jackie Brown is about survival). Along with everything else, the movie provides a showcase for a terrific ensemble of actors: Harvey Keitel, Tim Roth, Steve Buscemi, Michael Madsen, Christopher Penn, and Tarantino himself, offering a fervent dissection of Madonna's "Like a Virgin" over breakfast. Reservoir Dogs is violent (though the violence is implied rather than explicit), clever, gabby, harrowing, funny, suspenseful, and even--in the end--unexpectedly moving. (Don't forget that "Super Sounds of the Seventies" soundtrack, either.) Reservoir Dogs deserves just as much acclaim and attention as its follow-up, Pulp Fiction, would receive two years later. --Jim Emerson Review: Tarantino's superb breakthrough directorial debut that foreshadowed things to come - Six crooks with no past history with one another are hired by crime boss, Joe Cabot to carry out a diamond heist. Things, however, don't go according to plan, as no sooner does the job begin, than the police come sweeping in at the site of the robbery. A shootout ensues, with two of them being killed. When they all finally rendezvous at an abandoned warehouse, they come to the conclusion that one of them must be an undercover cop. What can be said that Reservoir Dogs that hasn't already been said? A seminal piece of filmmaking, not to say controversial due to the moral outcry that followed it after its release due to its scenes of violence. Probably not helped by the campaign only just having been waged by the gutter press against, Child's Play 3, which it was erroneously said to have influenced the murder, of two-year-old Jamie Bulger in the UK, by two 10-year-old boys in 1993. In fact, the VHS release of the movie at the time was postponed until 1995 due to the British Board of Film Classification initially refusing the film a home video certificate (UK releases are required to be certified separately for theatrical release and for viewing at home). Fortunately, we now live in more liberal times, and the movie has gained a major cult following, and understandably so. Marking the directorial debut of a then 29-year-old Quentin Tarantino, who had previously worked as a Video Clerk when he wrote the movie's screenplay. It was a highly impressive first feature, comprising motifs that have become trademarks of his. Violent crime, pop culture references, profanity, and nonlinear storytelling. Centering around a botched diamond heist, part of the selling point of the movie, is its witty, superb dialogue. Whether it be a discussion about the lyrics to Madonna's, Like a Virgin to the ethics of tipping, Tarantino displays a perfect ear for it. What elevates it even more though is the relationship between Harvey Keitel's Mr. Brown and Tim Roth's Mr. Orange. Two of the careers criminals who up until recently have been relative strangers, but when Orange is seriously wounded in the midst of them both making their getaway, Brown displays compassion, being a source of comfort to his wounded companion. There is an undeniable bond that begins to develop between each man, which makes the old adage of honor among thieves ring very much true. Dissimilarly, the relationship between Brown and Mr. Pink is less harmonious and more prickly, not helped by the fact that Pink is arguably the shadiest and self-serving. However, he's also very pragmatic, being much of the time, the voice of reason with lots of smarts, and while not physically the most threatening proves to be the one character to not be underestimated. Although his pragmatism at times comes to the chagrin of Brown. When Mr. Blonde (Michael Madsen) however finally arrives on the scene is where the situation really hots up, and tensions intensify more so. He is undoubtedly the most unpredictable of the movie's gang of rogues. Played with a cool, icy demeanor by Madsen, beneath that coolness lies the heart of a merciless, sadistic psychopath. In his presence, the atmosphere swiftly and undeniably takes on an air of unease and volatility. With this none more so encapsulated in the infamous torture scene which plays out to the strains of Gerry Rafferty's Stuck in the Middle with You. With the non-linear structure which he would use arguably use to his best and ingenious effect in Pulp Fiction, flashbacks to both Brown and Blonde meeting with Joe and Eddie Cabot serve to flush out both men's relationships, with the Crime Boss and his son. Bringing an added dimension to the dynamic of how the story plays out. Eddie's unwavering trust in Blonde, and the precarious division of loyalties that Brown finds himself being faced with. The performances from the cast are uniformly first-rate, with each of its stars working off one another exceptionally. Not least of all Tim Roth, executed a pitch-perfect U. S. accent, with there being no trace of his cockney accent at all. And it may come as some surprise that Eddie Bunker, cast in the small role of Mr. Blue was an ex-convicted felon, who had gone on to become an author of crime fiction, which lends the movie a further air of authenticity. Needless to say, Reservoir Dogs broke the mold and ushered in a new era of filmmaking. Admittedly, I can't say Tarantino's career hasn't gone unblemished since, as I'm of the unpopular opinion that Jackie Brown reprinted the nadir of his work, and Death Proof more so. Nevertheless, he's hit more than he has missed, and his debut is a testament to what lay ahead for him. Review: This film started the Great Tarantino Adventure - and then nothing on the screen was going to be the same again... - This is an absolutely amazing, ground breaking film and I adored it! Below, more of my impressions, with some very limited SPOILERS. It begins with eight dangerous criminals eating breakfast at a Los Angeles diner. Being what they are it is clear from the first moment that they are up to no good. The breakfast is hosted by Joseph "Joe" Cabot (Lawrence Tierney), an important, respected (and feared) figure in local criminal world and his seemingly less formidable son Eddie "Nice Guy" Cabot (Chris Penn). Although the atmosphere is supposedly light-hearted, it becomes very fast obvious that this is in fact a kind of solemn farewell party before the six guests go on some BIG mission. Those six men are: - Larry Dimmick a.k.a. "Mr White" (Harvey Keitel) - Victor "Vic" Vega a.k.a. "Mr Blonde" (Michael Madsen) - Freddy Newandyke a.k.a. "Mr Orange" (Tim Roth) - "Mr. Pink" (Steve Buscemi) - "Mr. Brown" (Quentin Tarantino) - "Mr. Blue" (Edward Bunker) The color coded names they use are of course Tarantino's tribute to the great 1974 thriller "Taking of Pelham 123". One of those six men is a traitor - and another one hides an even bigger, uglier, more horrible secret. For many of them this is the last day of their lives... Nothing more will be said. When it opened in 1992, this film was clearly an almost revolutionary event. Nothing like that was ever shown on screen before and it changed the whole face of world cinema - FOR EVER! The main strength of this film resides in the scenario and especially in dialogs. Quentin Tarantino introduced into the main stream cinema the use of extremely strong language, but in such a way, that it actually doesn't seem all that shocking - in fact it seems like just a socially respectable and acceptable way of communicating (but it isn't - just try to speak like that in your real life...). Another thing, used earlier, but NEVER on such scale, was to take low life characters and make them have really elaborated conversations on all kind of unexpected topics. And it worked BIG TIME. The twists of the scenario are another trick Tarantino used to the maximum. It becomes immediately clear, that in this films absolutely ANYTHING and EVERYTHING can happen - and it does. The non-linear narration, with flashbacks, is an old trick very much used in the cinema - already John Ford, Billy Wilder and Michael Curtiz did a masterful use of it in masterpieces like "The man who killed Liberty Valance", "Sergeant Rutledge", "Witness for the prosecution" and "Mildred Pierce" - but it is never an easy thing and it takes great skill to efficiently keep it under control. Well, with "Reservoir Dogs" and later with "Pulp Fiction" Tarantino took the art of non-linear scenario to the new heights of perfection. Tarantino himself claimed that this film was mostly influenced by Stanely Kubrick film noir "The Killing" from 1956, but I think I also saw here the influence of styles used by David Lynch (especially "Wild at heart") and Paul Verhoeven (especially "Basic Instinct" and to some extent also "Robocop"). That being said there is no question that "Reservoir Dogs", even if of course benefitting from some earlier inspirations, is a completely original thing. And that it is a rare, precious thing in modern cinema. This film had of course descendants even if, thanks God, nobody had the brilliant idea to make a sequel, prequel or spin-off. But "Pulp Fiction", Jackie Brown", "Kill Bill", the Tarantino segment from "Four rooms", Tarantino episode of "CSI" and "Grindhouse: Death Proof" (I didn't see his last two films and after watching the trailers I do not intend to) are certainly children of "Reservoir Dogs", as are the films written but not directed by Tarantino, like "True Romance" and "From dusk till dawn" (yes, I know, he also wrote "Natural Born Killers" - but I try to forget it...). Then, there is of course all the influence Tarantino had on the cinema, beginning with but not limited to, films made by his partner in crime Robert Rodriguez: "El Mariachi", "Desperado", "Four rooms", "Sin City", "Grindhouse: Planet terror", "Machete", "Machete kills" and the upcoming "Sin City 2". Amongst other Tarantino influenced things one let's just cite "Con Air" (one of my favourite comedies"), "Lucky Number Slevin" and especially the great "Fargo", as well as (at least to some extent) "Heat". Then of course there is the whole Tarantino influence on some great TV series - I am absolutely certain that the appearance of both "Shield" and "Sopranos" was at least a little influenced by "Reservoir Dogs" and "Pulp Fiction" and when watching "The Wire" I was certain that Omar Little was a little inspired by Tarantino thugs - as for Brother Mouzone and his faithful sidekick I am CERTAIN they were inspired by Tarantino. And that list is definitely not exhaustive. Bottom line, this is a film that simply must be seen for two reason. First, because it is a masterpiece and second, because it changed the history of cinema. Enjoy!