Kim Morgan: Hmmm. I always liked the Frankenstein monster, especially when he taught himself how to speak (that's in the book). The monster just gets stronger and more aggressive and will follow you to the Arctic Circle if you don't watch out. Anyway, you're playing dirty on a few points here. One, "Death Proof" is indeed a full-length feature film, no matter what you think of it. To just out and out say it doesn't even deserve to be called a movie is like saying "Duel" isn't really a movie because it was about a truck pursing Dennis Weaver and it was made for TV. And two, it's entirely unfair comparing Tarantino to Paul Thomas Anderson -- these guys are clearly different animals. I understand they've made around the same amount of movies and both are influenced by other filmmakers but obviously (obviously!) they have varied goals in mind. I love Paul Thomas Anderson (He is, along with Wes Anderson, one of the greatest directors currently working), but I don't want Tarantino to attempt to be anything like him. As for the claim that Tarantino's simply plugging quarters into a jukebox, well, that's too easy. Amidst all the Sergio Leone, Kinji Fukasaku, "Twisted Nerve" ecstatic beauty of "Kill Bill," there's real emotion there. And, as much as he riffs and synthesizes and fetishizes, I can safely say I've never seen a movie like "Kill Bill." He makes these psychotropic mélanges all his own. Furthermore (my God, you just made me say "furthermore"), with both "Kill Bill: Volumes 1 and 2" and "Death Proof," Tarantino appears to be in his women's stage, merging a kind of fantastically formal Douglas Sirk sensibility with the raw outrageousness of Russ Meyer. These women may be idealized but they've endured stress and struggles that, like those relating to the trials and tribulations of Peter Parker, are answered in an intriguing blend that's both human and mythical. And, sure, "Death Proof" is more of a lark, but for heaven's sake, it's on a double bill for a movie called "Grindhouse." What did you want him to make? "Love Streams"? And concerning two of my heroes -- Woody Allen (whose "Stardust Memories" is almost exclusively a Fellini homage) and Godard (who's "A Woman Is a Woman" is so drenched with film reference that it almost becomes wearisome), I will confess that, indeed, Tarantino has not made his "Crimes and Misdemeanors" or "Contempt" quite yet; perhaps he never will. But look Daddy-o, I actually dig Tarantino's newer direction as a genre-busting, fanatically obsessive, ultimate mix-tape action filmmaker. And action filmmakers are generally given the critical shaft. But I'm not accusing you of this. In fact, I detect someone who might like these movies almost as much as I do. I mean, you've already dropped the K-bomb ("Vanishing Point" Kowalski) on me and you've got the Rock Star name (Fear? You should be making movies), so I'm thinking you might actually appreciate Tarantino's inspired goulash if you loosened up a little. How can I help? Road trip a la "Two-Lane Blacktop"? I get to be James Taylor. You can be Dennis Wilson.

What are your thoughts on Quentin Tarantino? Write us at heymsn@microsoft.com

In addition to her regular contributions to MSN Movies, Kim Morgan is a film writer for the LA Weekly, Fandango and Reel.com. She was a film critic for The Oregonian and has written about movies for various print and Web media. She served as DVD critic on Tech TV's "The Screen Savers" and has appeared as guest film critic on AMC's "The Movie Club With John Ridley" and on E! Entertainment. She writes for her blog, Sunsetgun.com.

David Fear is a film critic for Time Out New York. He's also written for the San Francisco Bay Guardian, Filter and Moviemaker Magazine. He lives in Brooklyn, N.Y.

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