Some Blood-Soaked Point: A Review of ‘Tarantino and Theology’

When dealing with a creator as distinctive in style, content, attitude, and execution as Quentin Tarantino, the reactions to both the man and his works (to say nothing of their implications) is usually much like Tarantino’s approach itself: loud, colorful, passionate, divisive, and maybe just a little bit out of left field, for better, and also sometimes for worse. Be it one of these things, all of these things, some of these things, or none of them, Tarantino and Theology brings to the table an anthology of essays leading us up through Tarantino’s second-most-recent feature-length release—Django Unchained—and released in advance of his first-most-recent film, The Hateful Eight.


At large, the collection boasts a vast breadth of focus and style: perhaps in itself reminiscent of the iconic Kill Bill: Vol. 1 scene with the Crazy 88s—a veritable fountain of unending lifeblood spouting from a singular source only to soak from various angles, leaving singular splatter-patterns that still share the same crimson hue (or, in the case of the scene’s monochrome: deeply saturated grey).


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