Two separate sets of voluptuous women are stalked at different times by a scarred stuntman who uses his "death proof" cars to execute his murderous plans.
Quentin Tarantino and Robert Rodriguez's homage to drive-in double features in the 60s and 70s with two back-to-back cult films that include previews of coming attractions between them.
Gabriella, a Colombian immigrant, is obsessed with understanding violent crime. The current string of murders by "The Blue Blood Killer" of affluent Miami socialites provides her with ... See full summary »
Director:
Reb Braddock
Stars:
William Baldwin,
Angela Jones,
Bruce Ramsay
Stanley Kubrick's first film made in color, lost for over forty years. The documentary extols the benefits of membership to the Seafarers International Union.
Porter's sequential continuity editing links several shots to form a narrative of firemen responding to a house fire. They leave the station with their horse drawn pumper, arrive on the ... See full summary »
Directors:
George S. Fleming,
Edwin S. Porter
Stars:
Vivian Vaughan,
Arthur White,
James H. White
Black comedy about a girl who suffered from brain damage after a car accident and had to be institutionalized due to her erratic behavior. Her devoted and heartbroken boyfriend makes the ... See full summary »
A writer named Algernon (but called Harry by his friends) buys a picture of a boat on a lake, and his obsession with it renders normal life impossible. He attempts to function again by ... See full summary »
Quentin Tarantino's friend and fellow Video Archives clerk Roger Avary worked as the cinematographer on this film. He found Rich Turner to be very funny, and later cast him as the American tourist in his debut feature, Killing Zoe (1993). In addition to playing minor roles in both Reservoir Dogs and Pulp Fiction (1994), Turner would later play a minor role in Boogie Boy (1998), written and directed by Craig Hamann, who also worked at Video Archives and who co-wrote this film. See more »
Quotes
Oliver Brandon:
[coming out of Mickey's bathroom, covering his nose]
Man, whoo! Talk about dropping a cheese bomb!
[sniff]
Oliver Brandon:
I wouldn't go in there for about an hour if I was you.
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Today, Quentin Tarantino's first film "My Best Friend's Birthday" might be silly or very poor in quality to some, but to others it is a perfect example of seeing how a great director was born, with a limited budget trying to make a small film without taking film lessons in film schools elsewhere. For the fans, this is a great chance to see a few things that makes us love Quentin and his films and that is his early uses of film references; pop culture references; those long and interesting, clever and funny dialogs.
In its half hour more or less, unfinished or with the ending lost somewhere, "My Best Friend's Birthday" delivers short situations with a bunch of characters talking randomly but very funny stuff or getting themselves involved in some hilarious situation. But all of these small sketches takes them to Mickey's birthday (played by Craig Hamann, one of the writers of the film), friend of Clarence (Tarantino, playing the role later given to Christian Slater in "True Romance"), a friendlier and funny DJ of a local station, who holds our attention with his movie references like "Jailhouse Rock", "The Countess of Hong Kong" and "Dressed to Kill", and his ideas on Elvis, music and other things.
Right there, in 1987, and you already have the Tarantino as his usual routine as we all know: fast talker, the way he uses the references and the music in the background (classic rock), and all. It's more like a comedy and the only instance of violence comes with a hilarious moment of Mickey fighting kung fu with a pimp and that's it. The rest of it is dialog after dialog and brilliant ones (my favorite parts are the "garlick gum" that made a guy cursing all the time and Quentin having a cocaine bad trip).
Even without the ending and with a terrible amateurish cinematography, this is a good example of how someone can start in the film business but with very few at hand. During interviews about the amazing "Inglorious Basterds" Quentin said this: "Some people will like "Inglorious Basterds". Some people won't. But it was made with all the passion I've made everything with - except maybe my first film, which was probably made with more passion than I'll ever have again." Even if now, he disowns this little gem, barely talks about it, this statement, made when he already had given us classics like "Reservoir Dogs" and "Pulp Fiction", is a proof that even this almost unseen short film has a special place in Quentin's heart, something he'll never forget. And it was his first real experience behind a camera dealing and learning with all the pros and cons about what making a film really is.
I enjoyed it and recommend. It's hilarious, funny, entertaining, very simple and with incredible moments. We can only look back and see how Tarantino got better and better with the time. 10/10
3 of 4 people found this review helpful.
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Today, Quentin Tarantino's first film "My Best Friend's Birthday" might be silly or very poor in quality to some, but to others it is a perfect example of seeing how a great director was born, with a limited budget trying to make a small film without taking film lessons in film schools elsewhere. For the fans, this is a great chance to see a few things that makes us love Quentin and his films and that is his early uses of film references; pop culture references; those long and interesting, clever and funny dialogs.
In its half hour more or less, unfinished or with the ending lost somewhere, "My Best Friend's Birthday" delivers short situations with a bunch of characters talking randomly but very funny stuff or getting themselves involved in some hilarious situation. But all of these small sketches takes them to Mickey's birthday (played by Craig Hamann, one of the writers of the film), friend of Clarence (Tarantino, playing the role later given to Christian Slater in "True Romance"), a friendlier and funny DJ of a local station, who holds our attention with his movie references like "Jailhouse Rock", "The Countess of Hong Kong" and "Dressed to Kill", and his ideas on Elvis, music and other things.
Right there, in 1987, and you already have the Tarantino as his usual routine as we all know: fast talker, the way he uses the references and the music in the background (classic rock), and all. It's more like a comedy and the only instance of violence comes with a hilarious moment of Mickey fighting kung fu with a pimp and that's it. The rest of it is dialog after dialog and brilliant ones (my favorite parts are the "garlick gum" that made a guy cursing all the time and Quentin having a cocaine bad trip).
Even without the ending and with a terrible amateurish cinematography, this is a good example of how someone can start in the film business but with very few at hand. During interviews about the amazing "Inglorious Basterds" Quentin said this: "Some people will like "Inglorious Basterds". Some people won't. But it was made with all the passion I've made everything with - except maybe my first film, which was probably made with more passion than I'll ever have again." Even if now, he disowns this little gem, barely talks about it, this statement, made when he already had given us classics like "Reservoir Dogs" and "Pulp Fiction", is a proof that even this almost unseen short film has a special place in Quentin's heart, something he'll never forget. And it was his first real experience behind a camera dealing and learning with all the pros and cons about what making a film really is.
I enjoyed it and recommend. It's hilarious, funny, entertaining, very simple and with incredible moments. We can only look back and see how Tarantino got better and better with the time. 10/10