Ryan Pelillo
Arts & Entertainment Editor
Christopher Nolan is a better director than Quentin Tarantino. Nolan has had a much broader reach in terms of the general public, more clever narratives and isn’t as “film bro-ish.”
Some of Nolan’s most notable works include “Interstellar” and “Inception.” These are both films that are artistically sound and narratively unique, but can also be enjoyed by almost any audience. Tarantino’s most notable works such as “Pulp Fiction” and “Django: Unchained,” while impressive, push the boundaries less in terms of storytelling and are more restrictive regarding the audiences that can enjoy. Nolan does a phenomenal job of keeping viewers engaged and on the edge of their seats. Many, including myself, would say that his films are better the second time, as you have an entirely different perspective after knowing the major plot points.
One of my favorite techniques that Nolan plays with is the twist. Nolan does an exceptional job in utilizing it, especially in “Memento” and “The Prestige.” In a lot of films, the plot twist can be seen from a mile away. I’m talking to you, Disney. Nolan is able to keep twists fresh, as they’re not always overly significant. This is a testament to Nolan and his brother, Jonathan, who have displayed their writing prowess time and time again.
In terms of consistency, I think Nolan still has the upper hand. I wasn’t the biggest fan of “Oppeneimer,” but it will still be remembered as a massive critical and commercial success. It still blows my mind how that was Cillian Murphy’s first academy award. Tarantino has some great films don’t get me wrong. But I truly believe his prime has since passed. “Once Upon A Time in Hollywood” was a great return to roots for Tarantino, but I don’t think he’s had major success since 2012. This could also be attributed to the timespan Tarantino takes between films, but I’m going to hold that against him.
Did I mention that Nolan created the best superhero film of all time? Just remember, without “The Dark Knight,” there would be no “Avengers: Infinity War” or “Avengers: Endgame.”
Aidan Cahill
Photo Editor
There’s a reason why Quentin Tarantino is almost always thrown about when the question of ‘the best director’ is raised. Head into any film class and ask who their favorite directors are, and you’ll hear Tarantino more than any other name. While names such as Hitchcock and Kubrick often enter the equation, neither truly holds the cultural weight that Tarantino has managed to exude through his films.
Take his catalog of films he directed. The first film that comes to mind for people is his 1994 crime film “Pulp Fiction.” Though it was just his second film produced, “Pulp Fiction” has made numerous lists as one of, if not the greatest film of all time. It stands with pretty high regard itself, but a single great movie does not make Tarintino one of the greats. The rest of his catalog is what truly makes him into one of the greats.
Tarantino is an auteur. Though the types of films he makes differs from production to production, each film is unapologetically in his style. His manner of storytelling is not quite like any other director, yet his films do not feel repetitive in nature. Though “Reservoir Dogs” and “Pulp Fiction” both fit the bill of a gritty, violent, Los Angeles crime drama, Tarantino tells two incredibly distinct stories upon the same broad backdrop, without either stepping on the other film’s toes.
Tarantino’s work places heavy emphasis on homages and his films serve as pastiches towards the genres he enjoyed consuming. “Kill Bill” may be the most apparent example of this. “Kill Bill” is Tarantino’s take on Yakuza and martial arts films, and it is wonderfully executed. It is Tarantino’s most distinctive film, straying farthest from his traditional setting and themes. Yet, “Kill Bill” is still a Tarantino film, and couldn’t be confused for being directed by anyone else.
Tarantino’s film catalog is truly deep. Across his 30 years of filmmaking, five of his 10 films have received Academy Awards, alongside numerous other nominations and honors. These films did not just win against weak competition, but have held a continued cultural presence since their release, on top of their heavy acclaim.