A true classic on its own right...

Rating: 9/10 (8 September 2006)

It seems that it was only yesterday when in 1992 the then unknown director Quentin Tarantino screened his debut film, "Reservoir Dogs", at Sundance with great success suddenly becoming the new star of independent cinema and an the most promising director of that "class of 1992". Of course, later came "Pulp Fiction" and what started as a phenomenon within the indie scene became a worldwide success starting a trend of imitators and making Tarantino a powerful figure in Hollywood. But despite the rights and wrongs of Tarantino's career, the groundbreaking "Reservoir Dogs" is a fine example of excellent cinema and a classic of the 90s on its own right.
The plot begins with two criminals, codenamed Mr. White (Harvey Keitel) and Mr. Orange (Tim Roth), arriving to an abandoned mortuary. Orange is badly hurt, and soon we discover that they are members of a group of criminals hired to make a robbery, and that the crime went wrong when the police showed up ending in a shootout where the two of them barely escaped alive. After another survivor, Mr. Pink (Steve Buscemi), arrives, the group realizes that they were set up by an infiltrated agent, but since only their boss knows the details about them (including the real names), anybody in the room could be the traitor. Finally, the arrival of another member, Mr. Blonde (Michael Madsen), complicates the plot, as the other three are sure that he is the one who betrayed them.
Without a doubt, "Reservoir Dogs"' greatest strength is in the remarkably well-written script by Tarantino himself. The four main characters are fleshed out in a way that makes them very real, very human; each of them with a distinct series of personal traits that one can't help to feel that you know really them (something ironic, considering they are supposed not to know each other). The whole situation, built as a heist film where the heist is never seen (only told via flashbacks), makes these four personalities collide and actually the relationships between them become the point of the film itself. It's not about the crime itself, but about the criminals who committed it.
Tarantino's skill as a director is nowhere near his skill as a writer, but still he creates a very stylish film letting all his influences flourish, particularly the french new wave and classic noir heist films. Although it's safe to say that here they don't become as blatant as in this later "genre tribute" movies "Jackie Brown" and "Kill Bill". With very simple, but effective camera-work and a great use of incidental music as a soundtrack, Tarantino crafts a superb film despite its budgetary limitations shows a very promising talent with huge potential as a filmmaker.
The four main characters are wonderfully played by a very effective cast of actors. Harvey Keitel (who also produced the film) shows off his talent as the experienced Mr. White, who becomes some kind of paternal figure to the newbie Mr. Orange, in another of Tim Roth's excellent performances. Steve Buscemi gives his usual high quality work and the cast is completed by a Michael Madsen with tremendous presence and total control of the screen. Supporting characters are played by the very effective Chris Penn and Lawrence Tierney. Convict-turned-author Eddie Bunker and Tarantino himself appear in small roles with mixed-up results (Tarantino is not really a good actor).
The film is remarkably well-done for its budget, and despite being set almost entirely in a single room, it never feels tiresome or boring. Tarantino's violent crime drama has hold up well and personally, it rivals his follow-up, "Pulp Fiction", and at times it surpasses it. Some minor flaws include Tarantino's own lack of acting skills and an use of violence (not graphic, but somehow disturbing) that may be excessive to some people (although it fits perfectly within the movie's theme and atmosphere). Almost a flawless film.
Wheter one loves or hates Tarantino becomes meaningless at judging this film, its qualities makes it speak for itself as one of the best movies about crime ever made. It's hard to dismiss its raw power and creative craftsmanship. Maybe not a perfect film, but definitely the closest Tarantino has been to make one. 9/10