Ranking Every Quentin Tarantino Movie Soundtrack Worst To Best

Whether you love him or hate him (or do both at the same time), you can’t deny that Quentin Tarantino is one of the most popular filmmakers of all time. Even though he’s got his fair share of criticism, most young and fresh film fans and filmmakers would probably call him an influence.

After being a video store employee for many years, he began his film career by writing a variety of scripts (including True Romance, Natural Born Killers and From Dusk till Dawn), before going to helm the independent heist film, Reservoir Dogs. Over the twenty-eight years since that film’s release, he has gone on to helm many extremely iconic and popular movies, including Pulp Fiction, Jackie Brown, Django Unchained and most recently, the multiple Oscar nominee, Once Upon a Time in Hollywood.

Being one of the biggest auteurs in the film industry, his films always include a variety of hallmarks, including non-linear storytelling, graphic and disturbing violence, and pitch-black humour. One of his biggest recurrent trademarks is his fairly unique use of music - oftentimes, he mixes rock and pop songs from the 70s with dramatic and brooding film scores, often inspired (or actually composed) by his favourite composer, Ennio Morricone.

Nowadays, a Tarantino soundtrack is just as iconic as the film itself. Here, we will go through all of the soundtracks from Tarantino directed films, and weigh them up accordingly.

We all know that the second part of Tarantino’s epic, Kill Bill is not as good as the first part. And, by extension, the soundtrack lacks the same bite and enthusiasm as the first.

Just like all of Tarantino’s soundtracks, the soundtrack has an unorthodox use of entertaining and fun poppy songs in an otherwise deeply serious film. Here, some of the best tracks include “Goodnight Moon”, “Can’t Hardly Stand It” and “Summertime Killer”.

Also, as always, Tarantino incorporates some Ennio Morricone into his score, including tracks from Once Upon a Time in the West, The Good, the Bad and the Ugly, and most effectively, a track from the forgotten 60s western, Navajo Joe, “Silhouette of Doom”.

And, some monologues and pieces of dialogue are also incorporated into tracks, including the brilliant opening monologue by Uma Thurman.

Everything about this soundtrack is completely fine, but it just doesn’t feel as fresh or original as any of his other works.