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Late Night Movie Ranking (Patreon)

Published:
2024-05-03 07:31:43
Imported:
2026-06

Content

Hello guys! Joe here. I meant to post this last night but it was way too late for me! Like most film bros out there, I'm a big Tarantino fan. Last night must have been the 897th time I've watched Pulp Fiction. The film is so freaking popular and rewatched and praised, that I'm just tired of hearing about it. It had been over a year since I saw it and I finally decided it was time for a rewatch. Obviously the film is magnificent, if it's not your bag I get it. This won't be a post discussing Pulp Fiction but just to take a second to say that I underrated it and it made me reappraise my own Tarantino ranking. It shot way back up into my top 3. Yes, I was being very hipster about my previous rankings and I won't be sharing my old list with you! So I genuinely wanna know, if you're a Tarantino fan share your rankings! I'm sorry but Kill Bill I'm counting as one film even though both volumes are cinematically very different. If you wanna include True Romance I won't fault you. I'm gunna be a purist and leave it off but it would be #5 for me. Here it goes:

1. Inglorious Bastards (Saw it in theaters and made me want to be a filmmaker)

2. Once Upon a Time in Hollywood (Somehow gets better with each viewing)

3. Pulp Fiction (might be the coolest anyone has ever been on film)

4. The Hateful Eight (His most underrated work)

5. Jackie Brown (Robert Forster man, just Robert Forster)

6. Django Unchained (Leo should have won the Oscar, Waltz is a revelation though)

7. Reservoir Dogs (Maybe the best indie film ever made next to Halloween)

8. Kill Bill ("Because it's so much fun Jan!" This movie rips and is a true love letter to both westerns and samurai films, shows how both are in absolute conversation with one another.)

9. Death Proof (Because of course it is. This movie is good not great. Maybe a top 5 car chase of all time and proves that Tarantino can truly do it all.)

Comments

Jonathan

Here’s my it’s 3am first thought ranking based on the impression it left on me 1. Kill Bill - part 1 is perfection enough to excuse the faults of part 2 2. Once upon a time - such a love letter to 60s Hollywood 3. Pulp Fiction - First Tarantino I saw 4. Jackie Brown 5. Hateful 8 6. Django unchained 7. Inglorious Bastards - this ranking might improve with a rewatch (planning to in my yearly Memorial Day marathon) 8. Reservoir Dogs 9. Death Proof

Patrick Anthony

My conception of Tarantino’s films have certainly changed dramatically over time since I first watched Pulp Fiction in middle school. Everyone is always bewildered when I say I think Death Proof is Tarantino’s best film, but I continue to stand by it nonetheless. I tend to have a “controversial” ranking for sure. I may come back and explain my ranking later…maybe…. 1. Death Proof 2. Jackie Brown 3. Inglorious Basterds 4. Kill Bill Vol. 1 & 2 5. Django Unchained 6. Pulp Fiction 7. The Hateful Eight 8. Once Upon a Time in Hollywood 9. Reservoir Dogs

Chris

1. Jackie Brown 2. Once Upon a Time 3. Reservoir Dogs (had the most impact on me — first Tarantino film I saw. Not sure I would rank this as high otherwise) 4. Kill Bill (Love the 2nd; Like the 1st) 5. Pulp Fiction 6. Django 7. Inglorious 8. Hateful 8 9. Deathproof (Loved the full Grindhouse experience in the theater but as a separate film not so much)

Jérémy Dion

I'm not a big Tarantino fan as I often find his films a bit bro-y. It's the whole "dudes doing crimes" thing that I'm never able to connect with (same with Scorcese for the most part). I can appreciate them on a technical level but they leave me cold. The big exception being Kill Bill. I adore Kill Bill. So of those I've seen I'd rank them this way: 1. Kill Bill 2. Inglorious Bastards 3. Reservoir Dogs 4. Pulp Fiction 5. Django Unchained 6. Once Upon a Time in Hollywood I do really want to see Jackie Brown, I feel that I might like that one.

TouchTheGarlic

My Ranklng (including movies he just wrote the screenply for: 1. Inglourious Basterds (blew my mind - I did not know you could do what he does with the ending. Christoph Waltz’s Hans Landa is my all-time favourite villain in media) 2. Pulp Fiction (my first Tarantino, and my most rewatched) 3. Once Upon a Time… in Hollywood (ascends higher with each rewatch - just a great setting and vibe to hang out with) 4. Kill Bill: Vol. 1 (in some ways, the quintessential Tarantino film - the purest expression of what makes him him) 5. Django Unchained (an epic and moving saga of revenge and romance) 6. Kill Bill: Vol. 2 (I love the decision to make it slower and more thoughtful than the first part) 7. Reservoir Dogs (an enjoyably gutsy first outing with lots of micro-budget charm) 8. The Hateful Eight (I agree that it’s underrated - but not enough to put it over the other seven) 9. Jackie Brown (an enjoyable slow burn with great performances - I just love the frenetic stuff even more) 10. True Romance (very fun though ultimately forgettable for me - may be due for a rewatch) 11. From Dusk Till Dawn (really liked the first half, love the premise of the second half but found the execution of it to be lacking) 12. Death Proof (thought it was just okay - have not seen the rest of Grindhouse)

Actuarial Lurker

I love Pulp Fiction, Reservoir Dogs and Inglorious Bastards. Hard to rank them. I don't like the "foot fetish" thing that he seems to force on Uma Thurman and others, and I believe he gets a creepy pleasure frm dropping the N-word all over the place- with plausible deniability by having it come from African American superstar actors mouths- but in Pulp Fiction he seemed to enjoy his cameo that deemed to be in there just so he could drop "N-bombs" for shock value....

Weird Magic

I will list in order the Tarantino movies I've seen... . . . . . . .

Youtalkingtome
>>136940107

This might be the most off the wall Tarantino ranking I've seen, and I love you for it! I have never met anyone who has put Death Proof at 1. If you wanna vamp on it, by all means go for it. I wanna hear why you have it at 1!

Youtalkingtome
>>136947739

Yeah! Jackie Brown rocks so hard. I love everything DeNiro is doing in this movie. His character is such a vibe. Maybe Sam Jacksons best performance?

Youtalkingtome
>>136956920

I will defend Scorsese till I die. I feel like he gets put into a box for making several crime films. He has tons of films that explore faith, morality, and repression. All of those themes do show up in his crime dramas but I would recommend Alice Doesn't Live Here Anymore, The Age of Innocence, and Bringing Out the Dead. As far as the Tarantino list goes, check out Jackie Brown. It feels unique in his filmography.

Youtalkingtome
>>136960968

Love your list! Love Love Love it! Definitely check out True Romance again. Tony Scott is going bananas with that script and makes me wish they had collaborated again. From Dusk Till Dawn I have a huge soft spot for. I was in 5th grade and that came on, I think it was the night before Halloween. I had no idea what it was and found it odd that this crime film was being programmed. When the twist hits, it blew my prepubescent self away lmao. Shout out to my parents for being way too cool with what I was allowed to watch

Youtalkingtome
>>136961980

Yeah, I've heard his rationale for it and I get where he is coming from but it is very jarring. It's hard to defend the cameo in Pulp Fiction. Also that character's wife is a woman of color! I was glad that word didn't show up in OUATIH. The foot stuff, well that's a different story

Jérémy Dion
>>136956920

I did watch the Age of Innocence pretty recently and really liked it. I'm mad that Michelle Pfeiffer wasnt nominated for that. I guess it's mostly his crime films that I don't love. I still respect the craft but they're just not for me. I will for sure check out Jackie Brown soon, I've been wanting to for a while.

Cristy

I haven't seen them all but here's my ranking. 1. From Dusk 'Till Dawn 2. Reservoir Dogs 3. True Romance 4. Kill Bill 5. Pulp Fiction

Weird Magic
>>136990243

On purpose. For me (and this is a me thing, we all have them :)), I'm not a fan of gratuitous _______. Sex, language, violence, car chases (have yet to see a car chase that wasn't a) unnecessary b) outcome already known c) a waste of my time)), CGI etc. (Marvel - yuck). The only thing I like that is gratuitous is comedy (Anchorman/Airplane etc). I don't want this to come across as me being prudish, as I don't believe that's what this is. If it advances the story or the plot, then great. Took me a while to allow G.O.T. in, but eventually I got there and was able to look past everything for the amazing storytelling that happened for the first 95% of it :). I've just found myself as enjoying the storytelling and character interactions and violence just for violence sake, or MF'ing every other sentence just isn't entertaining. I'm sure Tarantino is more than that - he's obviously well respected in the industry and by you guys - it's just always been a turn off for me from the jump. P.S. Kill Bill and Pulp Fiction are two of my wife's favorite movies if that helps your list :)

Patrick Anthony
>>136940107

I honestly find Death Proof to be a very joyous & rich film, and even more, a sly dedication to stunt performers and their unique craft that often goes un-accoladed and/or barely noticed due to the work of “movie magic”. It’s fun to watch (I love a good “hang out” film) and it’s much more dynamic in its construction and progression than even Tarantino seems to give it credit for. It also helps that my first experience watching Death Proof (and the Grindhouse double-feature altogether) was one of my favorite and most memorable experiences of enjoyment at the cinema. WAY before the credits rolled I knew which of the films were superior and would stick in my head more. I barely remembered anything about Planet Terror after viewing the second feature, Death Proof. I think my favorite thing about Tarantino is the way he writes and captures heavy dialogue scenes featuring multiple characters, particularly regarding long stints of seemingly quotidian dialogue and how he paces those scenes as a progressive building of tension towards cinematic sequences and/or moments you maybe weren’t even aware was actively being set up and serviced until they stun you and become iconic moments and images in cinema history. One could argue many writer/directors do this proficiently and this is true, but I find Tarantino’s ability to build tension via long stretches of again largely quotidian dialogue to be so stimulating and always exhilaratingly cinematic. But for me, even more so in Death Proof since it’s a feature that feels like such a stray adventure & a hang out movie that takes its time to gradually transform into something more solidified in voice and purpose… In the first half of the film, as we hang out with this first group of young women as they enjoy their weekend, their whole group dynamic becomes more and more centered around how the men around them are trying desperately to influence the trajectory of their night, no man more than Stuntman Mike himself, who makes the biggest impression on them all over the course of the night with arguably the least effort, even getting that coveted lap dance from Arlene. The waiting predator “wins the night” as it were and within this quotidian construction, a peculiar and mysterious mythology is gradually built up and affirmed around Stuntman Mike, one that acts as a dark yet alluring armor akin to that of his intimidating death trap of a car. The unsuspecting, highly inebriated young women we’ve been hanging out with all night we watch be stalked by this weird, threatening man (an enduring horror trope and story itself that is so simple in its conceit yet can end in a bevy of horrific, grisly ways) who is able to use his threatening disposition, curious profession, and transfixing car to his manipulative advantage in getting up close and personal with his prey. The first half of the film appropriately frames the threat and builds him up to this climax of explosive vehicular violence--ending this devastating one night stand in which only Stuntman Mike walks away with his life. We quite literally get to see various vantage points of the obliterative carnage from each young woman’s perspective and the gruesome destruction of their bodies in various sensational ways--from the evisceration of Julia’s lovely long legs, which are commented on multiple times in the film, to Arlene’s gorgeous, sultry face--all using this reinforced symbol of virile and destructive power. And some months later he’s on the prowl again, his trusty weapon of choice reconstructed and waiting for new blood. It creates a mythological conception of the Stuntman, imbuing him as this near-immortal sinister figure likely to squeeze his way out of trouble and death to commit deadly violence upon a selection of unsuspecting women yet again, in new jurisdiction. What begins in the first act as this sort of provocative sexploitation hangout film very obviously immersed in a stark yet playful 70s Grindhouse exploitation aesthetic progresses in the second half into a cinematic evolution not just in terms of aesthetics (most of the Grindhouse visual quirks and flourishes are jettisoned in this second half) but also in how this second group of young women have more in common with our antagonist--working in the film business, two of them, Kim and the real-life stunt icon, Zoe Bell, being stuntwomen who will give Stuntman Mike a run for his money. Zoe and Kim especially maintain such a refreshing swagger and boldness that as we spend time with this second group of young women, the anticipation of their eventual confrontation with the psychotic Stuntman Mike builds up to the right, most effective cinematic moment. Tarantino’s love for film shines through so much in this film, particularly in regard to car films and even more so in regard to the practical stunt work that allowed these movies to look and feel so immersive--especially in earlier cinema that could not rely so heavily on computer-generated effects. The remarkable final car chase and confrontation is still, for me at least, one of the most thrilling feats of stunt work and practical movie magic that has ever immersed me in the theater, which is saying something. And I think it’s because within this context, the chase highlights for the viewer just how harrowing and bold of a task it is to take on said stunt work and attune a whole cast and crew to capture, again, that specific tradition of movie magic. It’s a film that makes me appreciate the immense, risky high-wire act of making cinema as a whole, and most especially what it takes to construct and choreograph the action that thrills us and make it look and feel as real as possible…because it is. To me, it feels like a rare thrilling and legitimately fun deconstruction of the very 70s Grindhouse sexploitation cinema aesthetic and tropes that the film itself simultaneously embodies. Much like the women who turn the tables on their arrogant predator, stalking and eventually killing Stuntman Mike--the cinematic power and immersion that comes through in practical stunt work and practical movie magic prevails and is made explicitly victorious in the face of an industry growing more and more invested in replacing that tradition of skill with less impressive, less immersive visual effects. It feels like a glorious rebirth of what came before, including a symbolic one regard to the first group of women we spent time with and saw brutally crushed. I love that while watching for the first time, I literally couldn’t even conceive of where the story could go next (which is, for me, one of the most interesting things about “hang out” films--it’s a conceit that can end up going down so many different roads) and I was thrilled watching it escalate dramatically all the way up to this invigorating moment of endnote triumph. I also see the film as a gleeful and righteous revenge film with an underlying defiant feminist sensibility in which the very objects of exploitation, the women themselves, actively take back full cinematic control of the exploitation genre that aims to objectify them. I also love how the film both embraces the goofiness/cheesiness of its conceit and throwback aesthetic at times while also using that conceit to up the stakes and create legitimately scary bursts of action and violence that helps contextualize the entire picture. I also LOVE the film’s soundtrack! I know some people find the characters annoying but I loved watching them and their dynamics. It’s also one of the most interesting car films ever made, in my opinion---coming from someone who does not care about cars one single bit. It made me interested in them for the first time, especially in a cinematic way. Throughout the film, cars become these dynamic, evocative centerpieces that are simultaneously cool, exciting, scary, powerful, but altogether embodying the promise of some sort of thrill. It’s a fun time every time I revisit it as well. Like any good hang out film, Death Proof has a wonderfully elating and surprisingly rewarding rewatch value. I didn't mean to write so much but I don't think I could explain why Death Proof is my fave without doing so...hopefully it makes some semblance of sense lol. In other news, I'm also starting to feel like Kill Bill might trump Inglorious Basterds in my ranking. Might be time for a rewatch...

Youtalkingtome
>>136990243

Hey you like what you like! We aren't gunna tell you're wrong. I love Anchorman! I've never seen Airplane though...

Youtalkingtome
>>136940107

1. Definitely time for an Inglorious Bastards rewatch. 2. You've made me consider things about this movie that I hadn't before. I do love it. I do have a lot of fun with it. I've always viewed it as a lesser of his work. I've always admired his cinematography, seriously he shoots the hell out of this movie. The color and aesthetic is off the charts gorgeous, you feel like you can smell the film lol. I'm gunna rewatch this later this week and really give it it's due. Thanks for the comment and giving me new things to look for!

Weird Magic

Found this YouTube video - it was posted online in 2021, but it appears to be an interview from 2009. In it, he names his top 20 films released from when he started as a director in 1992 to 2009. #1 is his favorite, the other 19 he put in alphabetical order #1 Battle Royale (2000) Anything Else (2003) Audition (1999) The Blade (1995) Boogie Nights (1997) Dazed and Confused (1993) Dogville (2003) Fight Club (1999) (surprised he talked about it) Friday (1995) The Host (2006) The Insider (1999) Joint Security Area (1999) Lost in Translation (2003) Matrix (1999) Memories of Murder (2003) Police Story 3 aka Supercop (1992) Shaun of the Dead (2004) Speed (1994) Team America World Police (2004) Unbreakable (2000) Very interesting/unique list - got to admit, there are a lot on here I had never heard of.

Youtalkingtome
>>137737573

He is the greatest advocator of foreign film. Audition is one of the most twisted films I've ever seen. Boogie Nights might be my favorite on this list though. I have some differences for sure lmao