Reservoir Dogs (1992)

• Year: 1992
• Released: 02 Sep 1992
• Country: United States
• Adwords: 12 wins & 23 nominations
• IMDb: https://www.imdb.com/title/tt0105236/
• Rotten Tomatoes: https://www.rottentomatoes.com/m/Reservoir_Dogs
• Metacritics: https://www.metacritic.com/movie/reservoir-dogs
• Available in: 720p, 1080p,
• Language: English
• MPA Rating: R
• Genre: Crime, Drama, Thriller
• Runtime: 99 min
• Writer: Quentin Tarantino, Roger Avary
• Director: Quentin Tarantino
• Cast: Harvey Keitel, Tim Roth, Michael Madsen
• Keywords: cult film, psychopath, escape, gang, heist,

	8.3/10
	79/100
	90% – Critics
	94% – Audience

Reservoir Dogs Storyline

Six thugs, 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.

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Reservoir Dogs Movie Reviews

These ‘Dogs’ bark a lot, but they bite, too …

Bloodily violent, irreverently shocking, politically incorrect, inventively funny and so on and so forth… I’m trying to find the right expression to describe “Reservoir Dogs” and I finally got it, it stands in three letters: N-E-W. There was something waiting in the abyssal wombs of cinema, so repressed it was waiting for deliverance with a fierce impatience, a deliverance with a quite original and cool-sounding name: Quentin Tarantino, the new incarnation of modern violence with STYLE. “Reservoir Dogs” is more than a debut; it’s a sensational entrance that consecrated Tarantino among the most influential directors of his generation, and THE reference in independent film-making.

Tarantino invented a new style that would never desert his films, and would make each of his creation, the epitome of coolness. It’s so fresh to watch “Reservoir Dogs” now and to realize how new it was at that time. I remember the first time I watched the film, I was 17, and the movie literally blew me away in every single aspect, and I guess the fact that I wasn’t familiar with the Internet or IMDb was a good thing since it didn’t intercede with my approach of the film. I didn’t want to know what’s so cool about Tarantino, I just discovered him with his film, shortly after watching “Pulp Fiction”, and for some reason, I loved “Reservoir Dogs” a little more. Tarantino quickly became my favorite director as a teenager, and in my early 20’s because of this level of creativity in the writing, the directing, and the editing.

The writing is Tarantino’s trademark and his greatest quality, the movie starts with a whole discussion about the meaning of “Like a Virgin” told by a fast-speaking Tarantino, himself as Mr. Brown, then a whole debate starts about tipping and non tipping. That’s the question raised by the first minutes of “Reservoir Dogs” and the least we could say is that the talk is so trivial it sounds real and authentic in its rawness and makes the characters more human, if not sympathetic. More generally, the whole characterization is driven by dialogs so delicately vulgar you never miss the action, or wait for something ‘to happen’. Script ‘happens’ in Tarantino’s films, like meals you’ve already eaten but with a new special taste, something juicy, creamy, and spicy. It’s almost an indigestion of creativity … I don’t need to tell you the lines, if I start them, you know the rest : “You shoot me in a dream …”, “Are you gonna bark all day, little doggie?” etc. etc. And these dogs not only bark, but they do bite a lot.

Indeed, if the movie was all dialogs, it wouldn’t have had the same impact. It’s like Tarantino already knew his lesson, and wanted to make something big, from the beginning. From the iconic slo-mo walking scene down the alley with the opening credits, you get the idea that this “Little Green Bag” song will be the ‘hallelujah’ glorifying the birth of a new style of film-making, and instinctively, you know something special will happen after these credits, and you’re not disappointed by what follows. Blood, blood all over the car seat, and probably one of the most convincing painful screams ever. You really can feel for Tim Roth in that scene, it’s like the real actor got one real bullet, and the rest is the touching expression of a growing friendship between Roth as Mr. Orange, and Mr. White, his mentor played by Harvey Keitel. He combs his hear, whispers something that provoke Orange’s cute but heartbreaking smile: the chemistry is so believable, you understand that the movie is not just about cool dialogs. Then, comes Mr Pink as Steve Buscemi, asking who the rat is! Because this is the first serious element we have. It’s the story of a botched jewel robbery, with a traitor among these gangsters. This question will be the starting point of the narrative with three specific back stories told in flashback.

The three characters depicted in flashback are Mr. White, Mr. Orange, and Michael Madsen as Mr. Blonde. And in the memorable-action department, the winner is undoubtedly Mr. Blonde: the one who provided the most iconic and recognizable moment of the film. The iconic ear-cutting scene with the “Stuck In the Middle With You” music, like a reminiscence of “A Clockwork Orange” rape scene with ‘Singin’ in the Rain’ as a musical background, the scene is disturbing, violent, bloody, but also … iconic. The violence is not meant to be cool, but just to show how psychotic Mr. Blonde, one of the most twisted gangster villains, is. And his torture is also crucial because it will unmask Mr. Orange as the snitch, and will make his relationship with White, even more complex. In one minute, the movie raises a new dimension, deeper and more tragic.

Forget the cool and raunchy dialogs, the creative editing, where flashbacks interfere with parallel stories, as when we witness a great scene where Orange tells a story within another story. Too many insertions as to create a confusing feeling until the last iconic scene : after the slo-mo opening, the ear-cutting, the Mexican stand-off, as the last memorable scene that would lurch this movie into Pop Culture. Forget the wonderful ensemble cast with so many colorful characters (literally) and such believable actions and reactions like childishly arguing about nicknames instead of preparing a serious job. All these elements are great, but it would have been nothing without the tragedy …

The beauty of the film relies on this profound relationship between Mr. Orange and Mr White, made of respect and honor, and the last minute of the film was something that reminded of Peckinpah’s films, a moment of honesty and loyalty, incarnated by Orange’s last confession, and White’s heartbreaking gesture as to redeem the act of a man he still loved as friend … Keitel’s last look before the movie ends will haunt me forever.

Warning: This film is NOT for everyone…even though it is brilliant.

It’s hard to imagine that anyone has NOT heard that “Reservoir Dogs” is an ultra-violent film, but just in case you haven’t, please understand that this is a super-duper ultra-violent film–and a film that many, many out there will find too difficult to watch or will traumatize you. I am not kidding…think twice before you decide to watch it and for heaven’s sake, DON’T LET KIDS SEE THIS FILM.

Now, despite this intense warning, I greatly respect the film–especially since it was made for next to nothing and without the big studio money. Despite its violence, the film is very smartly written, directed and acted. Quentin Tarantino was able to assemble a rather amazing cast of bad-boy actors–and in many, many ways is a modern version of film noir. And, to give the film that cache, he managed to get a great noir character actor, Lawrence Tierney (in real life a total nut) to give the film an air of menace and class.

Because so much on IMDb has already been written about this film and because it’s in the IMDb Top 250, there just isn’t a great need to discuss the film at length. Suffice to say that it is bloody, full of obscenities and extreme violence (though, to his credit, Tarantino did on many occasions make the actual violence occur off-camera). And, it’s brilliant–with a great ending (full of vagueness and a noir-like downbeat ending) and is sure to please the right audience.

A must see

Definitely up there with Pulp Fiction as Tarantino’s best. Reservoir Dogs is simply brilliant in all aspects. It is very brash, abrasive and unrelenting, but works tremendously with that sort of tone. The cinematography is very good I think, and the soundtrack is very appropriate and fitting. The story is wonderfully compelling, while the dialogue is very hard-boiled and attitude-laced with plenty of pop culture references, and references to TV shows and hip movies. Tarantino’s direction is excellent, and so is the acting. Both Harvey Keitel and Tim Roth give performances that are among their best, while Michael Madson and Steve Buschemi are outstanding. Overall, I think it is a must. Maybe not for all, but I loved it and consider it one of Tarantino’s best. 10/10 Bethany Cox