Quentin's Greatest Hits

By Playboy.com Staff

Quentin Tarantino's unique vision of death has become his filmic calling card. Dig this rundown of his greatest kill scenes in extreme, gory detail.

With his uniquely exhilarating cocktail of grit, style and blood, the perverse cinematic vision of the kill scene has rarely experienced a commander like writer, director, actor and producer Quentin Tarantino. Dig this illustrated tribute to one of Hollywood’s living legends and great, twisted minds for a taste of Quentin’s Greatest Hits.

See our most recent interview with Quentin Tarantino here.

The Bride vs. The Crazy 88

Tarantino shows us the true wrath of a wedding gone wrong as Uma Thurman swaps the veil for a sword and pops open a can of whoop ass in Kill Bill Vol 1. In a fury of samurai swords, hatchets, one eyeball plucked clean from its socket and fountains of hilariously sprayed blood, The Bride methodically cuts down the Crazy 88 like distant cousins on the B-list, leaving only severed limbs in her wake.

Luis Kills Melanie Lui

The only thing more annoying than losing your car in the mall parking lot is having a woman taunt you while you search for it. The beauty in this hit from Jackie Brown is how quickly Luis (DeNiro), ex-convict temper apparently in check, flips the switch and shoots Melanie (Fonda) without hesitation…and then immediately finds his car.

The Bear Jew

The infamous Bear Jew (Eli Roth) puts the fabled Nazi loyalty to the test, earning a standing ovation for it. The anticipation builds as that slow tapping of the Bear’s bat in the dark tunnel gets progressively louder, leading to the well-warranted kill shot. Tarantino holds nothing back as the full sight and sound of the Bear Jew’s homerun hit is exposed in a gritty display of entertaining murder.

The Sicilian

Tarantino can accomplish an unforgettable hit with great dialogue as well as quarts of blood. In one last effort to leave the world with head held high, True Romance’s Clifford Worley (Dennis Hopper) gives his assassins the “real,” and seemingly insulting, story of their Sicilian ancestry, much to the amusement of mafia consigliere Vincenzo Coccotti (Christopher Walken). Coccotti is so enthralled by the balls on his captor, the audience and Worley have a glimmer of hope that he may have talked his way out of his own death…to no avail.

The Final Scene

Some people would pay good money to get slapped around by three beautiful girls in pink, but Death Proof shows the other side of that coin in a gruesome finale. Tarantino pulls no punches in the final scene as Stuntman Mike is put through a carousel of female fury with each blow. The final scene is a quick, effective and bloody death capped off by a heavily cheered boot to the head.

Mr. Blonde

Never before has a song made ears hurt so badly as “Stuck in the Middle with You.” Tarantino is a master at using music to elicit emotion and for misdirection in his kill scenes. And in Reservoir Dogs, he does it better than ever in the most gruesome Tarantino hit scene to date. A beat-up and bound cop sans earlobe, a nearly bled-out undercover cop posing as a mobster and a gangster with phenomenal dance moves: who do the odds favor in this Tarantino setup? The slick moves and music distract the audience, giving it a light feel as gasoline is dumped on the cop. However, it also distracts Mr. Blonde, who does not see an Orange bullet coming his way…

Saving Marsellus

Marsellus Wallace (Ving Rhames) and Butch (Bruce Willis) bound with red ball gags in their mouths…an image anyone who has seen Pulp Fiction does not want to remember but cannot forget. The escaped Butch gives in to his morals and elects to save the man who tried to kill him earlier that day; the only question is with what weapon. The slow comedic weapon selection process concludes with a wisely chosen samurai sword that does the trick on Maynard; Zed is left to Marsellus, a pair of pliers and a blow torch.

The Death of Media

The Tarantino-written and Oliver Stone–directed Natural Born Killers is a nonstop barrage of murder and mayhem that goes from 0 to 90 in the first scene and never lets up on the gas until the final hit: the killing of obnoxious reporter Wayne Gale, which captures the symbolic end of sleazy paparazzi-style reporting, as well as the end of Mickey and Mallory’s killing spree.


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