True Romance

This is an unusual film for Tony Scott. The brutality and the the camera filters are expected, but self-parody and exaggeration are not exactly commonly seen attributes with which this Hollywood staple presents itself. But Quentin Tarantino's screenplay was more than a quality material, and so it came to what I did not expect. Scott essentially made two very similar films back to back. The captivating and melancholic Revenge and the more cheerful, crazier, and freer True Romance. For fans of classic story structure, true love, nostalgic music, tough main characters, and “American inevitability”, I recommend skipping the romance and going straight to Revenge. For fans of a rough and bloody ride, whose madness and craziness know no bounds, as well as fans of the Tarantino style, I recommend option B. My rating speaks for itself. (14/12/2008)

This is Tony Scott’s best film, hands down. A big share of that goes to Quentin Tarantino’s playful script that sets True Romance apart from Scott’s newer good films, like Enemy of the State. This film is not only nice to watch, but it’s at least equally nice to listen to the dialogues. (11/02/2012)

Although this film is based on Quentin Tarantino's screenplay, it's not something that left a deep impression on me. The film simply didn't entertain me, as if Scott couldn't properly convey what Tarantino intended on screen. Perhaps that's why he later preferred to direct everything himself or leave it to Rodriguez, with whom he simply clicked perfectly. I don't like "True Romance". (14/04/2014)

Aside from Walken's Vincenzo, there's nothing here worth remembering. The dialogue lacks the bite that Tarantino would later apply to Reservoir Dogs or Pulp Fiction. Even Scott doesn't have the form or ideas of his earlier or future films. Slightly above average, it entertains more in individual scenes than as a whole. (31/01/2005)

Elvis, comics, romance, chatty gangsters. And above all, a couple in love who just wants to improve their lives. So be careful, world, because murder in Alabama seems romantic, and Clarence will do anything for it. Now it's just a matter of having a little luck when several killers are after you, who will stop at nothing, let alone the sight of a gun. And in the end, I couldn't stop myself either. I could have had a thousand complaints that Tarantino is actually the same since his beginnings, the screenplay rushes too quickly from one place to another, and the dialogues are too absorbed in their perfectly nonsensical themes and over-the-top absurdity. But Slater, in his naivety and innocence, is truly a lovable hero, Scott's directing hand is perfectly steady, and the last twenty minutes have tension, surprises, fresh action, emotion – and actually everything. In addition, Zimmer's soundtrack is amazing in that it occasionally lifts the mood, sometimes squeezes the emotions, and even occasionally slides into irony. A genre mishmash and at the same time sharply defined darkly humorous bite-size piece. (13/10/2007)