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Quentin Tarantino’s 11 Favorite Movies Of All Time

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Ignacio Weil

Entertainment - May 8th 2025, 17:09 GMT+2

Cropped Portada — About This Gallery:

For this gallery, we’re zooming in on 11 of the favorite films of the legendary director himself. Important disclaimer: these aren’t *the best movies ever* according to Quentin Tarantino—but they *are* his personal favorites (in no order in particular), the ones he’s raved about in interviews and podcasts over the years.

Do you agree with the man? Which of these picks is your personal favorite? Let us know in the comments! | © Miramax

Cropped Blow Out — Blow Out (1981)

Brian De Palma’s *Blow Out* is one of those movies that makes film nerds nod solemnly and whisper, “They don’t make ‘em like this anymore.” John Travolta stars as a sound technician who accidentally records a murder—yep, very Hitchcock meets Watergate. Tarantino has long praised the film’s paranoid energy and stylized suspense, and honestly, you can feel its DNA all over *Pulp Fiction* and *Death Proof*. Nancy Allen brings a ton of heart to a role that could’ve easily been cliché, and John Lithgow is terrifying in that “Wait, wasn’t he on *3rd Rock from the Sun*?” kind of way. It’s a thriller, a tragedy, and a love letter to filmmaking all in one sleek, neon-soaked package. De Palma’s split diopters never looked so good. | © Filmways Pictures

Cropped Taxi Driver — Taxi Driver (1976)

Martin Scorsese’s *Taxi Driver* is the cinematic equivalent of descending into a sweaty, sleepless New York City nightmare—and Tarantino is absolutely here for it. Robert De Niro delivers an iconic performance as Travis Bickle, the unhinged anti-hero who gives us that “You talkin’ to me?” line you’ve probably heard in every college dorm room ever. Add in a young Jodie Foster as a child prostitute (yes, really) and Harvey Keitel as a pimp with serious flair, and you’ve got a volatile cocktail of gritty '70s energy. Tarantino’s love for morally gray characters finds a spiritual ancestor in this film. It's violent, uncomfortably intimate, and darkly hypnotic—basically, everything Quentin adores in storytelling. | © Columbia Pictures

Cropped Carrie — Carrie (1976)

Another De Palma gem, *Carrie* is the horror classic that proved prom is actually a bloodsport. Sissy Spacek plays the shy, telekinetic teen whose high school experience goes from awkward to apocalyptic, and it’s one of the most tragically beautiful genre performances ever. Piper Laurie, as Carrie’s fanatically religious mom, practically sears herself into your brain—and clearly into Tarantino’s too. This is a movie that isn’t afraid to go full operatic chaos, with split screens, pig’s blood, and righteous revenge. You can see how it inspired Tarantino's own blend of stylized violence and darkly comic catharsis. Also: try watching this and not yelling "Plug it up!" for the next week. | © United Artists

Cropped Jaws — Jaws (1975)

Before *Jaws*, beach days were relaxing. After *Jaws*, everyone in America was suddenly a marine biologist. Steven Spielberg’s blockbuster masterpiece about a great white shark terrorizing a coastal town might seem like a surprising Tarantino pick—but look closer. The tight pacing, the building dread, and the way Roy Scheider, Richard Dreyfuss, and Robert Shaw play off each other? Pure cinema. Shaw’s drunken monologue about the USS Indianapolis is the kind of moment Quentin dreams of writing—character-rich, terrifying, and unforgettable. Plus, Spielberg proved that genre films can be high art, a lesson Tarantino has taken to heart throughout his career. | © Universal Pictures

Cropped Five Fingers of Death — Five Fingers Of Death (1972)

*Five Fingers of Death* (also known as *King Boxer*) was many people’s introduction to kung fu cinema—and Tarantino never forgot it. Before Bruce Lee exploded in the West, Lo Lieh was already shattering bones and expectations in this high-energy martial arts showdown. With eye-popping fight choreography and the now-iconic “wah-wah-wah” musical sting (you’ll know it when you hear it), this movie lit the fuse for the kung fu explosion of the ‘70s. It’s got blood, honor, training montages, and an evil rival school—basically, everything a young Quentin could ever want. You can see its fingerprints all over *Kill Bill*, especially in the reverence for martial arts mythology. | © Shaw Brothers Studio

Cropped The Good the Bad and the Ugly — The Good, The Bad And The Ugly (1966)

Sergio Leone’s *The Good, the Bad and the Ugly* isn’t just a Western—it’s *the* Western. With Clint Eastwood squinting his way through the desert as the “Good,” Lee Van Cleef oozing menace as the “Bad,” and Eli Wallach stealing scenes (and hearts?) as the “Ugly,” this epic showdown of guns, gold, and grimaces left a mark on Tarantino that never healed—and he’s proud of it. The film’s operatic standoffs and Ennio Morricone’s legendary score practically invented the slow-burn tension Tarantino loves to death. Watch any scene in *The Hateful Eight* or *Django Unchained*, and you’ll hear Leone echoing in the gun clicks and silence. This isn’t just a movie—it’s a showdown ballet in dust and dynamite. | © United Artists

Cropped Rio Bravo — Rio Bravo (1959)

Howard Hawks’ *Rio Bravo* is pure comfort cinema for the outlaw soul. John Wayne swaggers into town as a sheriff with a stubborn streak, backed up by Dean Martin (yes, *that* Dean Martin), who plays a recovering alcoholic with surprising depth. There’s also Ricky Nelson crooning and Walter Brennan growling like a raccoon with a shotgun, and somehow it all just *works*. Tarantino has called *Rio Bravo* his “hangout movie,” and honestly, you get it—this isn’t just a Western, it’s about camaraderie, pacing, and building tension like a ticking time bomb. If you’ve ever wondered why QT loves characters chatting over long stretches before the shootout, *Rio Bravo* holds the answer. | © Warner Bros.

Cropped Unfaithfully Yours — Unfaithfully Yours (1948)

Preston Sturges’ *Unfaithfully Yours* is what happens when screwball comedy takes a sharp left turn into obsessive, symphonic madness. Rex Harrison stars as a famous conductor who suspects his wife of cheating and imagines three dramatically different revenge scenarios—each more unhinged than the last. Tarantino loves this kind of high-concept structure, and you can bet he’s a fan of how the film dives gleefully into fantasy, only to crash-land back into reality with comedic cruelty. Linda Darnell, playing the possibly unfaithful wife, is radiant and sly, and the whole film is a masterclass in timing and tonal balance. You can’t watch it without feeling like Sturges might’ve invented the blueprint for dark comedy thrillers with a wink. | © 20th Century Fox

Cropped Five Graves to Cairo — Five Graves To Cairo (1943)

Before Billy Wilder was dazzling audiences with *Sunset Boulevard* or *Some Like It Hot*, he made *Five Graves to Cairo*, a World War II espionage thriller that’s way cooler than its dusty setting suggests. Franchot Tone (a name you can’t say without sounding classy) stars as a stranded British corporal who finds himself in a remote desert hotel crawling with Nazis. Among them? None other than Erich von Stroheim, chomping cigars and chewing scenery as Field Marshal Rommel. Tarantino loves a good “undercover in enemy territory” setup, and this one’s dripping with the kind of suspense, identity games, and sly dialogue that clearly made an impression on his own writing. It's like *Inglourious Basterds*, but with more sand and fewer baseball bats. | © Paramount Pictures

Cropped His Girl Friday — His Girl Friday (1940)

Rapid-fire banter, snappy suits, and more chemistry than a high school lab explosion—*His Girl Friday* is peak screwball. Howard Hawks directs Cary Grant and Rosalind Russell like they’ve both had six espressos and zero patience for subtlety, and it’s electric. Russell plays a reporter trying to escape the news biz (and her ex-husband/editor, played by Grant), but—shocker—she gets pulled back in for *one last scoop*. Tarantino has gushed about this film’s dialogue, and it’s easy to see why: this is whip-smart, bullet-train-speed writing that makes you want to write screenplays in a fedora. It’s chaotic, stylish, and utterly irresistible—like Tarantino on a caffeine bender. | © Columbia Pictures

Cropped Pandoras Box — Pandora’s Box (1929)

Now *this* is a deep cut. G. W. Pabst’s *Pandora’s Box* is a silent German film that stars Louise Brooks as Lulu, the original femme fatale whose bob haircut could slice glass. In a time before sound, Brooks gave a performance so magnetic, it still echoes through cinema nearly a century later. Tarantino’s obsession with cinema history is well-documented, and this pick proves he’s not just about blood and bullets—he’s also a sucker for mood, style, and magnetic screen presence. *Pandora’s Box* is tragic, seductive, and visually lush, with Brooks embodying the kind of doomed charisma that would later inspire every noir heroine and dangerous muse. This isn’t just film history—it’s film mythology. | © Nero-Film A.G.

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Quentin Tarantino, the acclaimed director behind Pulp Fiction, Kill Bill, and Once Upon a Time in Hollywood, is known for his deep love of cinema. Over the years, he’s shared lists of the films that have inspired him, shaped his storytelling, and earned a permanent place in his personal canon. In this article, we dive into 11 of Quentin Tarantino’s favorite movies—spanning classic Hollywood, gritty thrillers, and international gems. Whether you're a film buff or a Tarantino superfan, this list offers a fascinating glimpse into the mind of one of modern cinema's most influential auteurs.

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Quentin Tarantino, the acclaimed director behind Pulp Fiction, Kill Bill, and Once Upon a Time in Hollywood, is known for his deep love of cinema. Over the years, he’s shared lists of the films that have inspired him, shaped his storytelling, and earned a permanent place in his personal canon. In this article, we dive into 11 of Quentin Tarantino’s favorite movies—spanning classic Hollywood, gritty thrillers, and international gems. Whether you're a film buff or a Tarantino superfan, this list offers a fascinating glimpse into the mind of one of modern cinema's most influential auteurs.