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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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Quentin Tarantino begins his directing career with the first of several chronologically mixed, disturbingly violent, and incredibly powerful films.
Reservoir Dogs is a testament to the idea that "less is more." This doesn't apply to the violence, the film is extremely violent from beginning to end, but the details of the botched diamond heist, which the entire film is based on, are conveyed only in the dialogue, except for one scene where Mr. Pink (Steve Buscemi) recalls his escape. The whole film takes place after the failed robbery is over, and the mystery that unfolds among the criminal participants is amazing to watch.

This is not a normal crime film. The thing that really sets Reservoir Dogs apart from all of the others is that it is PURE. When you look at the screen, you're looking at reality. There are no Hollywood actors, there's no make-up to make them look pretty, there's little to no comic relief, and most important of all, there's no goofy romantic subplot clumsily thrown in, a detrimental trademark of so many action films, as well as virtually all Jerry Bruckheimer films. Instead of all of that garbage, Tarantino decided to just present the film as simply and straightforwardly as possible, and by doing that he makes it seem that you're really looking at a bunch of criminals trying to figure out what to do after a suspiciously failed robbery.

Even though most of the actors were known at the time this film was made, the film was delivered in such a way that you don't see the actors at all, you only see the brutal characters that they portray. It is genuinely frightening to imagine being in the same room with any of them, and this is a quality that is rarely achieved in any kind of film.

Make no mistake, Reservoir Dogs is among the most violent films ever made, and some scenes are really painful to watch, but the way that reality is captured is something that justifies the violent excesses in this film. The violence is never glorified, nor is the criminal lifestyle. When films are overly violent, they usually get branded as such, but despite the extreme violence, Reservoir Dogs still manages to deliver an important overall message about the consequences of your actions. It remains high on the growing list of Tarantino's classic films, and it will not be soon forgotten.
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.
Major disappointment, completely overrated and a film with a trailer better than the actual film. 2/10
Reservoir Dogs was a complete disappointment. Despite the hyped reviews and high rating on IMDb it was nothing special. Mostly consisting of dialogue of pointless banter between the characters dragging out for uncomfortable amounts of time, the story had a weak plot and built up to nothing. Although to be fair the acting was very good, it did not redeem the overall poor script and plot which has its audience checking their watches within the first 30mins. The violence factor was nothing that shocking either, nothing much more you would find in a Bond film.

Personally I do not understand how this film gets good reviews. Please do not be fooled into wasting your time with this bore of a film. I'm surprised that this was not a career-ender for Tarantino.

2/10 Good acting, very boring plot. Overall poor.
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.
Low budget gem. Nice flick
Eight men eat breakfast at a Los Angeles diner before their planned diamond heist. Six of them use aliases: Mr. Blonde, Mr. Blue, Mr. Brown, Mr. Orange, Mr. Pink, and Mr. White. The others are mob boss Joe Cabot, the organizer of the heist, and his son and underboss, "Nice Guy" Eddie Cabot.

After the heist, White drives Orange to the rendezvous, an empty warehouse. Orange is bleeding profusely from a gunshot wound. Pink arrives, agitated; he believes the job was a setup and that the police had the diamond store staked out. White tells Pink that Brown was killed while escaping and that Blue is presumed dead. They discuss Blonde, who murdered several civilians during the heist; White is angry that Joe, an old friend, employed such a "psychopath". Pink reveals that he escaped with the diamonds and hid them in a secure location. They argue over whether to take the unconscious Orange to a hospital.

Blonde arrives and tells them to wait for Eddie. He reveals he has taken a police officer, Marvin Nash, hostage in his trunk; they beat Nash in an attempt to discover the informant. Eddie arrives and orders Pink and White to help him retrieve the diamonds and dispose of the hijacked vehicles, while Blonde stays with Nash and Orange. Alone with Blonde, Nash denies knowledge of a setup. Blonde is uninterested and tortures Nash for his own amusement, severing his ear with a straight razor. He douses him with gasoline, but before he can ignite it, Orange shoots him dead. Orange tells Nash he is an undercover police officer and that police are coming.
This is by far the best movie I have ever seen. It has the perfect amount of mystery, suspense, comedy, action and witty dialogue. It also is not too short and not too long, in that it does not drag on with useless scenes. I feel that every bit of screen time is utilized to the max.

Six men who know nothing about each other, and only identify each other by their assigned colours, plan to steal a shipment of diamonds from a diamond wholesaler's. The heist itself is not shown and we can only piece together what might have happened from the stories the men relay afterwards. This causes a bit of a Rashomon effect, in that we don't really know %100 what may have happened. It becomes increasingly apparent that there is an undercover cop lurking among the misters and they must find out who it is before it's too late. The resulting consequences will go down in cinematic history.

I have seen this movie at least 10-15 times just in the past year. I definitely would recommend this movie to absolutely anybody. You don't necessarily have to be a movie lover to enjoy this movie. Just sit back, relax and allow Quentin Tarantino to take you away to his cinematic universe.
Classic Tarantino Crime Caper
Simply put, "Reservoir Dogs" is one of the greatest movies ever made. This 1992 predecessor to 1994's "Pulp Fiction" is truly in a class by itself. This film has been a blueprint for basically every other wanna-be-like-Tarantino movie made in the last seven or so odd years. The acting is truly superb. Every one of the main characters turn in top-notch performances. Harvey Keitel's turn as the o'er-the-hill criminal MR WHITE is perhaps his best ever. Micheal Madsen's take as the psychopathic MR BLONDE is perhaps one of the most realistically frightening performances I've ever seen. This was truly the role he was born to play.

Rounding out the cast, you have the always enjoyable Steve Buscemi (MR PINK), Tarantino favorite Tim Roth (MR ORANGE), Tarantino favorite Quentin Tarantino (MR BROWN), Chris Penn as NICE GUY EDDIE and finally.....(whew)....Lawrence Tierney as the cranky mob boss JOE CABOT. The cast is utterly superb.

One aspect of Tarantino's is his ability to say so much with so little. Though the scene involving MR BLONDE'S shooting spree is never actually seen in the film, it is all too easy to picture Micheal Madsen in his JoeKool shtick, blasting holes into anything moving with eerie unemotional detachment. Tarantino BUILDS his characters with amazing style. (see Pulp Fiction, Jackie Brown, etc...) MR WHITE'S compassionate struggle to protect and save the life of MR ORANGE is gutwrenchingly moving. True "honor among thieves" type stuff here.

All in all, this movie is a classic. Be cool.....man.
Pure undiluted crap
Vintage Tarantino. Totally boorish, tasteless, boring, repetitious, tedious & moronic. Everything his loving audiences deserve.
Tarantino's First Is His Best!
When "Reservoir Dogs" was released in 1992, it was the first time the whole world became aware of a writer/directer called Quentin Tarantino. "Reservoir Dogs" is a stylish bank heist film that hits all the right notes. Loaded with seventies pop hits and cool, slick characters, the film deserves its cult status.

The film centers on a group of career criminals without names. Instead of calling each other by their real names they use colors. The other criminals are unaware that one of their own is a cop. The film primarily takes place in a warehouse where one of the guys lays on the floor bleeding. Tarantino gives us a view of each guy's background in between.

This film is one of the greatest films of all time in my opinion and deservedly so.
Edgy, engrossing and still holds up well as a heist film over the years
"I feel like a director who has not yet directed, therefore I don't exist." Said an idealist, enthusiastic Quentin Tarantino back when he was working at Video Archives in the early 1990s, eager to start climbing the directorial ladder in Hollywood. At this time he was just a screenplay-writer, penning early works such as Natural Born Killers (a baby of his he felt he stabbed in the heart when he gave up to Oliver Stone to rewrite), True Romance and From Dusk Till Dawn—all initially fruitless fares that no one dared to green-light. Production companies were choosy, cliquish and wouldn't give an untested director like Tarantino a break. Not even for Reservoir Dogs.

Growing increasingly frustrated at navigating the world of hard-to-please production corporations to OK his project and pass him the director's chair, Taratino approached producer Lawrence Bender—arguably the best choice of his career (he's been working closely with him ever since). Bender loved the script of Reservoir Dogs—and who wouldn't? It pours crime, gangsters and humour into an exquisite blender and sprinkles it with heavy doses of edgy style. Together the two of them set out to do this film, and soon caught the eye of Richard Gladstein at Live Entertainment in Van Nuys, who would later agree to finance the little project.

It really was a "little" project, too, with a budget of a mere $1,200,000—which meant that the '65 Yellow Cadillac that you see in the film is Michael Madsen's own. Yet breathless and excited at becoming a debut-director and finally getting to tend to his baby himself which this position now afforded him, Quentin Tarantino and Lawrence Bender began the process and the mega cult hit that is "Reservoir Dogs" (1992). Harvey Keitel was first approached to star as Mr. White and with his name on-board, he himself convinced several star-actors to grace the cast list along with him. He told them they wouldn't get much money for it, but that the script alone was worth jumping on-board for. They agreed.

That's some basic back-story for you on how this film came to be, and I feel it is important to keep in mind the fervent enthusiasm and gratitude with which Quentin Tarantino embarked on his debut-director journey. It translates in the eager, rapid-fire dialogue between the characters, the clever pacing of the story and the fresh edge of the narrative. This is a man with a deeply-rooted love for films and who wanted nothing more than to make his own--and now that privilege had been granted, and not a minute too soon. Upon the release of "Dogs", Tarantino was rightly vaulted into the great directors' fame and, I imagine, became even more enthusiastic about film-making.

The end product is a very good film that sees five anonymous hit men team up for a big heist – an armed robbery on a Diamond warehouse that will be central to the wide variety of eccentrically quirky characters who all lend their skills to the job. The heat of the police clings onto them during this task because there's talk of a rat in their group... but who is it? The film starts at the end of the robbery, zooming in on a chaotic bloody state and then backtracks in flashbacks–non-chronologically and a bit babbling, but it still works–in an attempt to answer this question. Does it? Yes, but perhaps not in the way you think.

Although this fare is devoid of any profound message, morals or statement and there's no discernible kind of symbolism, it is extremely enjoyable on a basic level. In fact, maybe its straightforward approach to a story–but with criminal diversions, twists and plot-devices–is what makes it so great. This is a clever heist, just take it or leave it. The interactions and actions between the characters are at focus, placing environment in the backseat; this means that Reservoir Dogs can proudly boast of having one of the greatest dialogue-driven scenes in film, and it takes place at the beginning at the diner when Mr. Pink (Steve Buscemi) explains to the other guys why he does not tip waitresses--the others are compassionate and argue that they are minimum-wage workers no rely on tip, but Mr. Pink is stern: "Do you know what this is? Its the world's smallest violin playing just for the waitresses. "

The film is full of gems like these, full of great colourful gangster performances (in particular Michael Madsen as Mr. Blonde--the most badass character in history) and full of clear-eyed and gory style. As far as heist films go, this is a grand accomplishment. If anything, it is a bit short (99 minutes). These characters are so interesting that we never feel as though we get to know them enough--it's a little rushed and a little dizzying at times. This is no surprise as Reservoir Dogs was originally written as a short film, barely stretching 20 minutes and with characters that weren't meant to be particularly developed or dimensional. They are more so in the final, long version, but it's still a little too rushed. Although I suppose is intentional on Tarantino's part to signify the hectic pace of the heist and the cops chasing them.

Tarantino sported a modest wallet and a modest ego that had not yet swelled to a "Cro-Magnon forehead"--as ex-friend and Natural Born Killers producer Don Murphy would describe it--when he wrote and directed this film. Indeed, this aspiring filmmaker loved films so much that he would make a lot of enemies and lose a lot of friends during the course of climbing the directorial ladder in Hollywood. No friends were harmed in the making of this film.

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