Mickey and the Bear
An elegantly wrought drama about a father and daughter.
Film criticism is in a strange place. Talk about 17 years later! [After "Reservoir Dogs."] I could never have imagined that print film reviewing would be dying. It's unfathomable to me. I don't like reading film criticism on a laptop. I like holding it in my hand.
You're a geezer, Quentin.
Exactly. It seems to me from reading a lot of the film criticism that came out of Cannes this year that the few print critics that are left writing are so busy combating these Internet bozos that there's a new formalism, a new self-seriousness among remaining critics, to prove they're professionals. Even some of the younger critics who are still writing in print--well, they're not that young--are coming across like young fogies. There are some good online critics, but then there's these fanboy types: "Ooh, this sucks balls." It's a little bit like '78, '79, '80, where exuberance in filmmaking is not getting its due anymore. For example, "The Blues Brothers" never got any respect. Now, it truly is beloved, as it goddamn well should be. I mean, it's sad to think of what happened to John Landis after "An American Werewolf in London," but in those two movies, he was the first fanboy director making movies out of his head.
And, regarding his favorite movies
of all time in life:
I can tell you now. This got picked up on from [your] piece [17 years ago] for the next five years, those top three in particular: "Taxi Driver," "Blow Out," and "Rio Bravo." I've changed. I know I was cagey about it before, but my favorite movie of all time is "The Good, the Bad and the Ugly." That's the best movie ever made. I can't even imagine myself doing better; that's how much I love it. I would also throw "His Girl Friday" in there. The fifth will always be however I feel at the moment. So I'll throw in "Carrie," give De Palma a shout-out.
(Above: Tarantino dances up the red carpet at Cannes, 2009. AP photo.)
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