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Earlier this month, the Oxford English Dictionary formally added over one hundred different film words to the English lexicon. Among those lucky few additions were the terms giallo (a slasher-esque Italian horror subgenre), hard R (what Venom was supposed to be rated), Kubrickian (as in the 2001: A Space Odyssey director), kaiju (the Tokyo-sized monsters that Guillermo del Toro is obsessed with) and J-horror (the substrata of horror movies that originated in turn-of-the-century Japan), all of which go a long way to bringing the way people talk about movies to the forefront of the language.
One of these newly sacrosanct words is Tarantinoesque, which they define as “resembling or imitative of the films of Quentin Tarantino.” Even the lay person – the casual moviegoer who might only see a new movie every great once-in-a-while for the latest Avengers team-up – knows what this word means. Whatever else writer-director Quentin Tarantino might be, he is certainly distinct, especially when compared to the usual sort of gun-for-hire filmmakers responsible for so much of the tentpole movie landscape these days. His films are abrasive, one-of-a-kind collages of high and low art: distinctive for their graphic and stylized violence, cineliterate references, non-linear storylines, sharp dialogue, vulgar repartee, ensemble casts and genre blending.
Style - Filmmaking - Reason - Tarantinoesque - Part
And distinct though his style of filmmaking might be, there’s a reason why Tarantinoesque is now recognized as a part of everyday language. He has had such a profound impact on movies, the movie industry and moviegoers since emerging fully formed like The Birth of Venus in the early 1990s that many have attempted to ape his one-of-a-kind style in their own films. The Usual Suspects (1995), The Boondock Saints (1990), Snatch (2000) and Free Fire (2017) all owe a debt to the seminal director for the impact that he has had on their...
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