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What is it about Quentin Tarantino? He is one of the most recognizable directing brands in all of Hollywood, yet you barely need two hands to count the films he's made. Even curiouser, his celebrity never seems to fade regardless of how those films are received. The critical and commercial success of his last three efforts could be categorized as well-received to moderate and successful-but-below-expectations to outright bomb.

After making a splash by showing audiences that they enjoyed watching someone get their ear cut off to the music of Stealers Wheel, Tarantino tore an epic hole in the cinematic universe with Pulp Fiction. Pound-for-pound, it's still the most refreshingly original film of maybe the last 20 years and even could lay claim to inventing its own sub-genre. Think about how much so many films owe to Pulp Fiction.

But flash forward a full nine years to 2003. Pulp Fiction had faded into celluloid lore, while Jackie Brown, Tarantino's lone effort during that stretch, didn't so much as sniff the heights where Fiction rose. Surely the short attention spans of today's film audiences would greet Tarantino as, if not a one hit wonder, a decided has-been. Still, we all remember during the trailers before, oh let's say The Matrix Reloaded (shudder), when the words "The Fourth film by Quentin Tarantino" came across the screen, everyone perked up. Again I say, what is it about Quentin Tarantino?

But then two-film-kung-fu-spaghetti-western-Uma-Thurman-foot-fetish-fest (seriously his foot thing kinda grosses me out) that was Kill Bill spoiled Tarantino's assumed prodigal return greatness. While intermittent with genius (Lucy Liu's anime origin story, Michael Madsen), Kill Bill did not break out the way the Weinsteins and their sweaty, grubby hands hoped it would. It didn't destroy the world - like the aforementioned Reloaded - but it didn't change it, either.

Then enigmatic career of Tarantio went dark yet again for three years, resurfacing only for eyebrow-furrowing randomness. CSI? The Jimmy Kimmel Show? Then came 2007 and Grindhouse. This is where Tarantino and his schtick teetered most precariously with audiences and it looked like they had finally lost their patience. It was almost as if we all said, "I can't just wait around for you to show up every three to five years, I need more commitment than that!"

On a personal note, Instead of recounting my personal thoughts on Grindhouse, I've managed to pull up an email I wrote to a film podcast (Filmspotting, check it out) after I had heard the host's epileptic praise session of Tarantino and Death Proof. (Please forgive the contrived eloquence of a 23-year-old film nerd.)

"I will close by adding myself to what I'm sure is a growing list of people accusing you and all film critics of continuing to encourage Tarantino's schtick. Don't get me wrong, I've enjoyed all of his films. I think Pulp Fiction was the closest thing to inventing a new genre within the last 20 years or so, maybe even earlier. However, I think that since Pulp, there hasn't been much original filmmaking going on. Kill Bill and Death Proof are attempts to recreate or pay tribute to some favorite genres of [Tarantino's] youth. Fine. But he doesn't take risks. Doesn't try anything new. And because of the tongue-in-cheek tone that flows throughout these films, the possibility of failure barely exists. No one is expecting anything but a good, raunchy, and ultimately forgettable time. Is that a genius, revolutionary filmmaker? Look, I enjoy it just as much as the next person. I just don't want to hear any more about Tarantino's brilliance and originality. There is much more important work being done. When discussing Tarantino, let's just try to keep things in perspective."

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