#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – 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 the intention that they won’t get too close and will 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 two of them are 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.
Plot: A botched robbery indicates a police informant, and the pressure mounts in the aftermath at a warehouse. Crime begets violence as the survivors — veteran Mr. White, newcomer Mr. Orange, psychopathic parolee Mr. Blonde, bickering weasel Mr. Pink and Nice Guy Eddie — unravel.
Smart Tags: #heist_gone_wrong #nonlinear_timeline #mexican_standoff #robbery #graphic_violence #stylized_violence #falling_out_among_thieves #torture_threat #dark_comedy #murder #neo_noir #undercover_cop #tied_to_a_chair #heist #gang #gore #written_and_directed_by_cast_member #written_by_director #wilhelm_scream #surprise_ending #1990s
|8.3/10 Votes: 925,783|
|8.2 Votes: 10371 Popularity: 28.369|
This unique take on the heist-film-gone-wrong was excellent–stylish and intelligently made, yet very funny and inexpensive. Tarantino’s accolades from giving American cinema the resuscitation it needed mirrors what has happened, at least since the 70’s, with Martin Scorsese’s ‘Mean Streets’, both in terms of entertaining violence and usage of music in the scoring of films. I greatly thank Harvey Keitel for taking a chance on Tarantino back then–It paid off in spades.
The cuss-oriented squabbles of lowlife crooks for 99 minutes (and no women)
RELEASED IN 1992 and written/directed by Quentin Tarantino, “Reservoir Dogs” is a crime drama/thriller about a diamond heist gone disastrously wrong in Los Angeles wherein the surviving thugs bicker back-and-forth in a warehouse about which of their members is a police informant. The main thieves are played by Harvey Keitel, Tim Roth, Steve Buscemi, Michael Madsen and Chris Penn while Lawrence Tierney appears as the old salt mastermind.
This was Tarantino’s first feature film, costing only $1,200,000, and it has quirky glimmerings of future greatness, as seen in “Pulp Fiction” (1994), “Jackie Brown” (1997), “Kill Bill” (2003/2004), “Inglourious Basterds” (2009) and “Django Unchained” (2012), but “Reservoir” didn’t work for me. It’s hampered by a low-budget vibe, which I can handle, but not the uninteresting lowlife characters, their self-made conundrum, their interminably dull dialogue and the one-dimensional setting where about 80% of the story takes place in an old warehouse, not to mention no females in the main cast.
Still, it’s interesting to observe Tarantino’s first serious stab at filmmaking and it has its moments of genuine entertainment. It’s a lesson on humble beginnings, which shows potential while not being up to snuff.
THE FILM RUNS 1 hour, 39 minutes and was shot in Los Angeles & Burbank.
For all I know you are the rat; and this might be the best heist homage movie ever?
Reservoir Dogs is the debut of director and writer Quentin Tarantino. It stars Harvey Keitel, Steve Buscemi, Tim Roth, Michael Madsen, Chris Penn, and Lawrence Tierney. Tarantino has a minor role, as does criminal-turned-author Eddie Bunker.
It feels a bit silly to write it now, but there was a time when Reservoir Dogs barely made a ripple in the cinema loving world; in America that is. Upon its release in the States it was moderately successful and comfortably made back its $1.2 million budget. However, upon hitting the British shores it was a big hit and grossed nearly £6.5 million and then Pulp Fiction exploded on the world in 94 and Reservoir Dogs got reappraised in its home country. The rest as they say is history.
Tarantino, the most enthusiastic of film fans, was once a video store clerk in Redondo Beach. There he dreamed of making his own movies and planned to make Reservoir Dogs with his friends on a relatively small budget. As luck would have it, Keitel got hold of the script and wanted in. With his name attached, and using his contacts, a serious budget was raised and so the Dogs were set loose. At the time of its popularity, Tarantino had to guardedly fend off accusations of plagiarism and a charge of just hacking from older classic heist movies. His argument was that he was making his own homage to the heist caper, but even so, the fact remains that Reservoir Dogs is spliced from The Killing, Kansas City Confidential, The Big Combo, The Taking Of Pelham One Two Three and we can definitely throw in The Asphalt Jungle as well.
Yet Reservoir Dogs is still extraordinarily fresh and vibrant, raising the bar for crime movies in the modern era. Tarantino of course has since gone on to prove his worth with other projects, so in truth his homage movie was merely the foot in the door for the talented son of Knoxville, Tennessee. In terms of its dialogue, tho, and its gleeful use of “ultra-violence,” it has few peers. From any decade. It also helps considerably that Tarantino has assembled a quality cast to make his non-linear classic shine. Keitel is a given, but Roth is exceptional, as too is Buscemi, while Madsen is frighteningly convincing as psycho for hire Mr. Blonde. Then there’s the 70s soundtrack, a vital part of the narrative as we hear the dulcet tones of Steven Wright Djing on K-Billy’s Super Sounds of the Seventies. If you have not seen the film yet? Then I promise you will remember Stealers Wheel-Stuck in the Middle for the rest of your cinema loving days.
And that’s the thing with Reservoir Dogs, it’s crammed packed full of memorable things. A quip, a bang, a song or the WTF ending, as homages go; it’s one of the very best. 9/10
A tasteless exercise in violence.
When critics say that some films are pornographic because of the way they depict violence, they are referring to the type of violence that appears in “Reservoir Dogs.” The film maker’s artistic judgment seems to be clouded by a bloodthirsty hatred of police officers. I am thinking particularly of a scene in which a captive police officer is mutilated by his criminal captors. The feeling conveyed to me was one of sadistic joy in the victim’s suffering, a sense that he deserved to be mutilated simply because he was a cop. I am sure that some misguided admirers of this film applauded the scene precisely for that reason. Unfortunately, a lot of people hate the police, and for them such a film functions as escapist “entertainment,” but “Reservoir Dogs” seems to lack any redeeming value of another kind, like a snuff movie.
The only other time I’ve seen such poor artistic and ethical judgment in a film was in “Caligula,” by the producer Bob Guccione, where in one scene a Roman aristocrat forces a soldier to drink a gallon of wine and then cuts his belly open for the fun of seeing the liquid spill out of it. Some gullible members of the audience actually cheered when they saw that. Like Guccione, Tarantino, director of “Reservoir Dogs” may be a big fan of pornography and possibly he doesn’t make the distinction between sex and violence. Certainly everything of his I’ve seen looks like a porno film stylistically, but he focuses mainly on bloodshed and torture instead of lust and love. Unless you’re in the mood for a tasteless exercise in violence, you would do much better to rent John Huston’s “Asphalt Jungle,” one of the best and most intelligently made caper gone wrong movies ever made.
Original Language en
Runtime 1 hr 39 min (99 min)
Genre Crime, Drama, Thriller
Director Quentin Tarantino
Writer Quentin Tarantino, Quentin Tarantino (background radio dialogue written by), Roger Avary (background radio dialogue written by)
Actors Harvey Keitel, Tim Roth, Michael Madsen, Chris Penn
Awards 12 wins & 23 nominations.
Production Company Live Entertainment, Dog Eat Dog Productions
Sound Mix Dolby Stereo
Aspect Ratio 2.35 : 1
Camera Arriflex 35-III, Panavision Primo Lenses, Panavision Panaflex X, Panavision Primo Lenses, Panavision Panaflex Gold, Panavision Primo and Canon Lenses
Laboratory FotoKem Laboratory, Burbank (CA), USA
Film Length 2,724 m (Sweden)
Negative Format 35 mm (Eastman EXR 50D 5245)
Cinematographic Process Super 35
Printed Film Format 35 mm (anamorphic)