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Crime, Drama, Thriller, Mystery
IMDB rating:
Quentin Tarantino


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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
Reservoir Dogs 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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Great film!
This was a great and fun movie which is also Quentin Tarantino's forth directional film. The acting and soundtrack was great with Chris Penn and Steve Buscemi having the best roles. It has a great story and wonderful one-liners. It has quite a big fan base from what I've seen and even a Australian remake was made in 2011 called Reservoir Cats with a mostly female cast. Be sure to see this film as I enjoyed it a lot.

I give Reservoir Dogs a 7/10
Tarantino's masterpiece
Being a young, aspiring film maker, I try to learn from the greats such as Spielberg, Fincher, Scorsese and yes, Tarantino. I've seen all of Tarantino's films from Pulp Fiction to Django Unchained but I had yet to see his directorial debut Reservoir Dogs. Now having seen it, I can easily say Tarantino has not yet topped his first film and likely never will.

For those who don't know, Reservoir Dogs is about 6 total strangers, Mr. White, Mr. Pink, Mr. Brown, Mr. Orange, Mr. Blonde, and Mr. Blue who come together to pull off the perfect heist on a jewelry store. But, when it all goes wrong and the police show up, the remaining men start to smell a rat.

Where this film really excels is the dialogue and direction. Contrary to popular belief, the violence in this film is not overly grotesque, but more driven by the story and it is very realistic. The dialogue in this film is so witty and smooth, it makes it impossible to be bored and it's hard to look away from the screen even if two side characters are having a conversation.

The relationship between Mr. White and Mr. Orange is a big driving point for this film in my opinion. Mr. Orange is shot in the stomach by a pedestrian during the getaway after the failed robbery and Mr. White tries to comfort him while they race to the reandevu point in a warehouse. Mr. Pink shows up shortly after and He and Mr. White argue about who the possible rat is. And during the argument, Mr. White says that Mr. Orange is without a doubt NOT the rat, and "MAJOR SPOILERS HERE" when Orange shoots Mr. Blonde as Mr. Blonde is about to burn a cop alive and confesses to the cop that he is actually a police officer, it leaves you breathless and you totally sympathize with Mr. White when he finds out later in the film.

The non-linear story telling in this film is also a big plus as it makes it easier to get to know the characters as the story unfolds before our eyes. This is a film that had truly stood the test of time and will continue to be a classic for the years to come. This is one of my all time favorite films and my favorite film by Tarantino and I give it a 5/5.
opera prime perfecta DE Quentin Tarantino
perfect debut of Quentin Tarantino A masterpiece! to be the debut of Tarantino is one of his best films I can even say it's my favorite of Tarantino. What I like of this film is how the story (so that part of Tarantino films) and friendship made ​​between Mr. Orange and Mr. White.

Any normal director would have shown the scene of the robbery but Tarantino does not show, we know before the robbery and after the robbery but we never see the Rob.Dando A new way of seeing the movie which according to my personal opinion keeps you very more curious of what will happen and why these much more attentive to the plot of the movie and the soundtrack is perfect nothing to say like all the soundtracks of the films of Tarantino, then of all cinema without film music is not serious.
Reservior Dogs is a classic film and Quentin Tarantino is just an absolute genius.

I really liked this film, it was gripping and suspenseful. Straight to the point and extremely well acted. A few of the scenes were very gruesome but they needed to be. Michael Madsen as Mr. Blonde was just crazy but my personal favourite in this film was Chris Penn who played Nice Guy Eddie Cabot, I found him to be hilarious. The story developed at a good pace even though it was mostly set in one place with just a few flashbacks.

Overall this is well deserving of its place in the IMDb top 250 list, a classic film that everyone just has to see.

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.
Intelligent, engaging, bold and invigorating; a great debut
For me, there's too much emphasis placed on Tarantino's technique of cinematic self-reference and personal homage. Although it has become something of a defining characteristic of his work - even more-so since the release Kill Bill Vol. 1 (2003) - it is simply one single layer of a rich tapestry of elements that make his films so effective. When Reservoir Dogs (1992) was first released, the referential aspect was almost completely ignored. Instead, critics applauded Tarantino for his strong characters, clever dialog, use of violence and music; and the effortless use of structure and narrative, which helped to turn a seemingly pedestrian crime-thriller into an exciting and enigmatic exercise in cinematic tension building. Over the years, audience have noted the references to films such as City on Fire (1987), The Taking of Pelham One Two Three (1974) and The Killing (1956) (though Tarantino claims to be more influenced by the original novel, as opposed to the Kubrick film) and dismissed these references as simple theft. This is foolish though, and flies in the face of the very cannibalistic nature of film, and the idea that every single story, character and theme analysed in 20th century art can be traced back to a secondary source related centuries before.

If you've seen enough films, then you can easily draw surface similarities from almost anything made subsequent to 1970. In fact, in a world in which comic book adaptations and "foreign language" remakes dominate the box-office; Tarantino's approach is truly defiant. If he were a musician, he'd most probably be a hip-hop producer - someone like RZA or Danger Mouse - taking ideas and samples from a variety of different works and blending it all together to produce something new and exciting. So the themes may be well worn, but the presentation and technique is electrifying. Think of that opening scene in particular; a seriously minded discussion of the textual-interpretations of Madonna's Like a Virgin and a debate on the ethics of tipping that not only sets the scene - quite literally - for the use of dialog to follow, but establishes the single characters and their personalities perfectly. We take it for granted now, but try to think of any other American crime film made prior to 1991 that manages to successfully appropriate a scene of pop-cultural discourse into the opening sequences of a tense and violent thriller. Then, look at how it moves seamlessly into the credit sequence; a moment of decade defining cool that some have seen as a nod to A Clockwork Orange (1971), though it really serves a far more functional means of further introducing this broad ensemble of characters, so as not to over-complicate the actual viewing of the film once we get into the telling of the story.

There's then a flash-forward, introducing the idea of a fractured narrative. Again, we take it for granted, but think about it; any other heist film and the scene of the heist would dominate. Here, we don't even get to see it. As a result, the botched robbery and the violence that is described to us takes on a more enigmatic purpose, creating something of a Rashomon (1950) like conundrum in which we're forced to take these varying characters at their word, and - much like the protagonists of the film itself - draw our own conclusions and allegiances. By not showing the heist, Tarantino adds to the tension, not only between the characters on screen, but between the characters and the audience. It's a radical move on the part of the filmmaker; as jaw-dropping as making a film about the D-Day invasions without ever showing the soldiers hit Normandy. The film is also remarkable for the atmosphere that Tarantino creates - both in the way in which he stretches out shots and scenes beyond the point that most other filmmakers would, and of course, in his careful use of framing, minimal production design and the use of hand-held cinematography - all to establish a sense of urgency and unease that escalates as the plot goes backwards and forwards on itself. It's a definite pressure cooker-like environment being developed throughout, as each scene builds and builds and then cuts back in on itself; giving us more of the back-story and further reinforcing the bitter ironies of both the characters and that ending.

It is also helped by the fine performances, with every member of the cast defining these characters, not simply as archetypes or conventional components of the narrative, but somewhat believable human beings. This quality is pushed further by the use of the fragmented narrative, as Tarantino presents the story almost like a jigsaw puzzle, with information held back from us until the right juncture in the narrative, at which point we can finally put all of the pieces into place and then stand back to appreciate the view. Without question, Reservoir Dogs is a tense, coolly ironic thriller that not only subverts the usual codes and conventions you would expect to find in a heist thriller, but does so in such a way as to remain light, effortless and greatly entertaining. Today it is synonymous with changing the landscape of mid-90's cinema; creating a brief resurgence of intelligent, character driven films that were quirky, self-aware and filed with that spirit of independence. However, before the hype and the greater success of Pulp Fiction (1994), it was simply a great film; one that presented a clever story, cinematic characters and an unconventional approach to on screen violence that reminded people that you could have more from cinema than a bland reproduction of a story.
Doctor, ain't there nothing' I can take?
"Reservoir Dogs" ends with Harry Nilsson's "Coconut" playing over the credits, a quirky song in which a woman "puts the lime in the coconut and drinks 'em both up" before getting a bellyache and calling a doctor who tells her to "put the lime in the coconut and drink 'em both up" which causes her to get a bellyache and call a doctor who tells her to "put the lime in the coconut and drink 'em both up".

In other words, the "cause" is the "cure" is the "cause" is the "cure" is the "cause". But is the woman stupid for listening to the doctor or is the doctor wise in accelerating the problem until her sickness goes away (possibly because the idiot's bellyache eventually leads to death?).

Regardless, Quinten Tarantino's "Reservoir Dogs" finds a gang of foul mouthed low-lives trapped in a similar, inane loop. After a botched jewelry heist, a group of criminals gather in an abandoned warehouse where they try to ascertain who amongst them is an undercover cop. In other words, there's a poisonous lime in a group of coconut nut cases, and they're all busy trying to smoke him out.

As arguments ensue, one of the gang members, whilst waiting on a doctor, begins to die slowly due to a bullet (ie belly ache) in the gut. Meanwhile, tensions escalate to such an extent that the men shoot one another to death. The wounded man with the bullet hole belly ache is then revealed to be the poisonous rat. Had the others let him die, they'd have been fine.

So it's the "lime in the coconut" scenario; uncovering the cause of the stomach ache equals finding the rat, finding the rat leads to stomach aches, stomach aches are cured by finding the rat, finding the rat leads to stomach aches...etc etc, until the patients all die. Cue the coconut song.

Tarantino typically makes modern versions of 1970s exploitation films. But while "Reservoir Dogs" has the seediness, cool posing, macho vulgarity and blood quota of 1970s exploitation cinema, its actual framework owes more to 1950s noir. In this regard it unfolds like a stage-play, is dialogue driven, possesses a bare aesthetic, sparse, stripped down sets, and ends with a fatalistic noir climax in which everyone dies.

And while the film pulls from 70s blaxploitation, Hong Kong cool, Lam's "City on Fire", Kubrick's "The Killing", the original "Oceans 11" (all those slow motion men in suit shots), and Peckinpah's blood operas, Tarantino's overall tone is much more playful. He's more akin to David Mamet, using freestyle dialogue to toy with conventions. What matters is not the content of the film, or even the characters, but the farcical playfulness of it all; the way it moves, skirts around expectations and then joyously self destructs. Today, with most artists now with an encyclopedic knowledge of cinema, such that they can, like Tarantino, spin entire tales out of bits and pieces in a matter of days, the challenge is to slow down and let go of the mix-tape. This kind of "I can do this, but should I?" questioning is itself the core dilemma of Tarantino's "Inglorious Basterds".

"Reservoir Dog's" bloodiness was deemed sensational back in the 90s, but that's largely because Hollywood's previous 15 years were dominated by a kind of sanitized, blockbuster violence ("Indiana Jones", "Star Wars" etc). Many complain that the film relies too heavily on designer brutality, cool, gratuitous violence, and that its characters are simply pop culture chewing posers, but while that is true, the film is also unique in Tarantino's filmography ("Basterds" excluded) in that it actually plays like a warped morality tale. Shakespeare with guns, the film rejects any sanctimonious message, "crime doesn't pay" or otherwise, and instead lets us eavesdrop on a bunch of psychopaths who, quite hypocritically, view themselves as professionals with ordinary jobs. Throughout the film our criminals thus view with scorn a psycho played by Michael Madsen. They're not like him, you see. They have ethics, codes, rules and professional courtesy. But when push comes to shove they nevertheless all degenerate into reservoir dogs, cruel, psychopathic and little more than petty hoodlums.

Like most of Tarantino's films, "Reservoir Dogs" is a film about film. Here the characters are all artifacts chewing on pop culture artifacts, except Tim Roth, who plays an undercover cop. While Keitel does a phony tough guy routine and Michael Madesen does a cheap Clint Eastwood, Tim Roth's the chameleon actor who infiltrates their school play and brings their curtain down. He even starts by killing their director.

7.9/10 – Worth two viewings. See Mamet's films, some of which do this stuff better.
Yet another worthless effort by Tarantino...
Unlike most of Tarantino's films this one I would not give a negative rating to. It shares all of the things that I hate about his other films (bouncing around in time & sequence, unnecessary blood & violence, no plot and no resolution) with the rest of his films, but for some reason this one does not make me want to sort my socks instead. I would still say that you should not waste your time watching this movie unless you really just want to waste time. The only redeeming quality of this film is that you can watch this one film and and you will have just seen every Quentin Tarantino movie ever made, because they are all the same. Just be sure that you can handle the violence and the blood because that is about all you are going to get from this film.
One of the ten worst movies ever
I can only imagine that those who like this film find appeal in the violence. It certainly isn't in the direction or story-telling. It's an incredibly badly-written and episodic piece, full of irrelevant scenes without which it would only be an hour long. What is relevant makes no use of the medium. Characters are not introduced through telling actions, but by introducing themselves in some kind of criminal job-interview. Tarantino's 'genius' seems to be a habit of having the lowest sort of people engaged in violent pursuits converse as casually as ladies at tea. It's a trick he uses and re-uses in all his films. Maybe Reservoir Dogs was meant to have deconstructionist elements a la From Dusk Till Dawn, but I think it's just what it appears to be: a really bad film.

William Bell
I thought it was boring, rambling and way over rated - and I did watch it three times to see whether I'd missed something as everyone was raving about it.

It wasn't THAT original. Was it?

The expectation of many people telling you to go and see was a bit too much for me, I think just maybe there must have been something deeply subliminal in the film, and my brain just doesn't have that part.

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