I'll get to the heart of the matter. "Reservoir Dogs" was spot on. It was a realistic (in terms of the outcome) yet highly stylized gangster film. It said to the viewer, "I know you are expecting X, Y, and Z, but isn't it time you 'grew up' already? Do you want to see the same movie over and over again?" 'Bad guys' do bad things and usually self-destruct in one way or another at a young age. We saw that no matter how hard one might try, you cannot polish a turd, as they say.
Despite the cute dialogue, these guys are bad, do bad things, and the results are bad. If that heist would have 'succeeded,' they just would have gotten themselves killed or jailed some other way. it was a 'wake up call,' an inversion, or perhaps the best way to think of it is that it wasn't what it seemed to be. It was just a bunch of 'simulacra' thrown together to resemble a feature-length film. It succeeded brilliantly, but Tarantino had nowhere to go after that, other than to stylize and fabricate as much as possible, creating ludicrous, absurd movies that had no point. If you saw one you didn't need to see another.
"Django Unchained" is more of a postscript. It's not as ridiculous or as historically inaccurate as it could have been, but even it if had been, what would it have mattered? He's been there and done that, and apparently can't figure out what to do now other than to repeat the past. He is in the "Woody Allen Zone" at this point (just substitute the "white," rich, self-absorbed complainers for retro and homicidal, yet more "diverse" and colorful characters in Tarantino's last several films), in my opinion, meaning that he's "mailing it in" for the money. The movie is too long and very quickly the viewer can predict the kinds of things that will transpire. I don't play violent video games (or any video games at all), but after watching this I was thinking that it would be much more interesting in every way to just do that; after perhaps twenty minutes (or less) I'd get my fill of this sort of thing and could use the other two hours and change to do something "productive."
The following is my highly speculative, "inside the mind" history (or is it an anti-history) of Tarantino's "MO:" After "Reservoir Dogs," he had one last idea, essentially the end of the "Hollywood Blockbuster" disguised as a Hollywood Blockbuster (an anti-Hollywood Blockbuster?). It would be a highly stylized, very violent move that would appear to have several compelling "back stories." The reality is that it had none, and once the viewer figures this out, he or she should tell himself/herself that there is no reason to watch such films any longer, other than as some sort of "cheap chill," basically "violence *." That blockbuster, of course, was "Pulp Fiction."
The title "gave away" the director's thoughts: "stop watching my films if you are an intelligent, empathetic person." Of course you may have watched one or two more because you couldn't be sure, but at this point his movies are some sort of "post-modern," anti-film, non-story. Watch them, expecting something different, and as they say, the joke is on you. Instead, I suggest you consider taking a course on the history of film, film criticism, or something along those lines. Seeing "Django" is like being the "best" guest at a "dinner for schmucks." So, I guess the most interesting question now is, what do we make of a reviewer who realizes what is occurring yet still feels compelled to watch these anti-films in order to tell others not to be the butt of a joke? Is this an anti-review? A "pulp" review?
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