So let's just try and figure out who the bad guy is, all right? Look I know I'm no peice of shit.Īnd I'm fuckin' positive you're on the level. He's too fuckin' homicidal to be workin' with the cops.įuck sides man what we need here is a little solidarity! Somebody's stickin' a red hot poker up our asses and I wanna know who's name's on the handle. Yeah, I did, okay? But that was then! Right now this guy is the only I completely trust. You said yourself you thought about takin' him out! Did you ever work with niggers? Just like you two always saying they're gonna kill each other! You two assholes, calm the fuck down! Hey, come on! What are we on a playground here? Am I the only professional? You're actin' like a bunch of fuckin' niggers man. What was that? I'm sorry I didn't catch it. You almost killed me! Asshole! If I knew what kind of a guy you were I never would've agreed to work with you!Īre you gonna bark all day little doggie? Or are you gonna bite? That fuckin' shooting spree! In the store remember? Fuckin' trigger happy madman almost get's me shot! Yeah I got a problem! I got a *big* fuckin' problem. You see the pain is reminding a fuck machine what it once was like to be a virgin. It hurts just like it did the first time. It shouldn't hurt her, you know, her pussy should be Bubble Yum by now, but when this cat fucks her it hurts. Now, she's gettin' the serious dick action and she's feeling something she ain't felt since forever. Then one day she meets this John Holmes motherfucker and it's like, whoa baby, I mean this cat is like Charles Bronson in the 'Great Escape', he's digging tunnels. It's all about this cooze who's a regular fuck machine, I'm talking morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick. Lemme tell you what 'Like a Virgin' is about. You said 'True Blue' was about a nice girl, a sensitive girl who meets a nice guy, and that 'Like a Virgin' was a metaphor for big dicks. I found this old address book in a jacket I ain't worn in a coon's age. Oh, Toby was this Chinese girl, what was her last name? You know, 'Lucky Star', 'Borderline' - but once she got into her 'Papa Don't Preach' phase, I don't know, I tuned out. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan. Look, asshole, I didn't say I ain't heard of it. I don't even follow this Tops In Pops shit, and I've at least heard of "True Blue". 'True Blue' was a big ass hit for Madonna. That's what "True Blue" is about, now, granted, no argument about that. 'Like a Virgin' is not about this sensitive girl who meets a nice fella. Tell that fucking bullshit to the tourists. Then she meets some guy who's really sensitive. It's about a girl who is very vulnerable. It's all about a girl who digs a guy with a big dick. THE FILM RUNS 1 hour, 39 minutes and was shot in Los Angeles & Burbank.Let me tell you what 'Like a Virgin' is about. It’s a lesson on humble beginnings, which shows potential while not being up to snuff. Still, it’s interesting to observe Tarantino’s first serious stab at filmmaking and it has its moments of genuine entertainment. 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. 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.
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. 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 cuss-oriented squabbles of lowlife crooks for 99 minutes (and no women)
I greatly thank Harvey Keitel for taking a chance on Tarantino back then-It paid off in spades. 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. This unique take on the heist-film-gone-wrong was excellent-stylish and intelligently made, yet very funny and inexpensive.
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