Film Comparison Reservoir Dogs and the Killing

Directed by Stanley Kubrick and released in 1956, The sidesplitting has resonated through the years as an influential and innovational story of a botched bank robbery told through the eyeball of each(prenominal) different portions point of view. The scenes are strategically organized stunned of order and lead the story through a maze of game advancements. Quentin Tarantinos Reservoir Dogs opened in October 1992 and draws m whatever influences and opuss from Kubricks fritter away. The temporary arrangement of scenes accompanied by meticulously crafted development of character fount stories can be seen in two features.Furthermore, these films subject matter some(prenominal) have to do with a jut outned heist gone awry resulting in the deaths of all however one character that is later savvy by the authorities. The underlying themes also mirror one a nonher(prenominal) quite an seamlessly especially when it comes to trust and character conduct. Each film does a hunky-d ory job at gripping the audience in suspense until the concluding cut scene. In some(prenominal) films, at that place is the initial robbery plan that is presented to a small group of mostly thugs who dont await too many questions and would probably turn on one another in the blink of an eye.It becomes apparent quite soon into the opening of each film that something has gone or will go wrong at some point at the hands of a mole indoors the operation. Accidents, such as Reservoir Dogs failed robbery attempt itself, happen inside both plots to make the stories move forward at a conflict rate. Each of the films directors were able to take away any and all comprehension of age outside of the movie experience and tack it with edge of your seat, non-linear plot installations. Above all, the distinct and groundbreaking writing from both films is what creates the sense of hyperrealism seen within both features.The language and direction used in Tarantinos movie pays homage to early film noir classics as intimately as films such as Martin Scorseses Mean Streets and even The Killing itself. The themes lay out in The Killing can also be found quite easily within Reservoir Dogs as well. Stanley Kubricks film was released in the mid 1950s and has underlying tones that were most likely derived from the queasiness of the nation at that time. Who to trust remains to be a gigantic theme in the movie, especially after the group finds out that there is a snitch among the ranks.Reservoir Dogs plays off of this same notion and really makes an unapologetic example of how no one can be trusted, even when you really believe in them. The Killing goes as far as to allude that, in the case of the window teller and his greedy wife, men should not trust women, especially when it comes to the subject of potential money in the pocket. They carry out the message that you can only trust one somebody and one person only yourself. The eternal excuse that money cannot support happ iness becomes a recurring theme in both films.Another theme seen in each movie suggests the idea that violence creates nothing provided negativity and eventual downfall. Considering the fact that nearly every main character in both films perishes by the end, just goes to show the theme that tells us how violence met with more violence can only result in misery. There are many similarities between each of these films. Quentin Tarantino candidly speaks close to how he wanted to create his own version of The Killing, and how he did only that with Reservoir Dogs.The pervasive amount of violence found in both films also becomes noteworthy when looking for parallels between the two. Reservoir Dogs is violent in many more scenes than The Killing and is also filled with much coarser language, only if the sustained violence that occurs during the final 25 minutes of The Killing essential certainly have been something seldom seen by the public in the time of its release, especially the g raphic bullet wounds seen in the faces of several fallen characters.In both films, violence is something that each character uses in order to get by, but by the end of each feature most of the characters have perished at the hands of someone else. This goes to show that even though the characters were intrinsically gear toward violence, they met their respective downfalls due to their own violent or dubious actions.