10. Stephen – “Django Unchained” (2012)
As the mirror image of “Django Unchained”’s hero, Samuel L. Jackson bends and scrunches his frame to physically resemble the twisted morality of this perceptive and vindictive “servant.” Tarantino often conveys intrigue through dialogue, but Stephen’s dagger gaze is the most dangerous weapon in the film.
9. Django – “Django Unchained” (2012)
Revenge is a concept Tarantino has explored more than once, but freed slave Django doesn’t seek “kill ’em all” retribution. His desire is simple: a reunion with his wife. Any violence is a vengeful bonus. While he chafes at the idea of peaceably rescuing Broomhilda, he might have kept his weapons holstered if not for Stephen’s machinations. Fully unleashed, however, his righteous fury blazes bright.
8. Vincent Vega – “Pulp Fiction” (1994)
A cheeseball/addict/killer with barely-concealed confidence issues, John Travolta’s comeback gig is transfixing, and by virtue of the actor’s own verve, more than charismatic enough to convince us to accept Vega’s many rough edges. Even with all we know about Vincent, we’d want to hang out with the guy. His end, while pathetic and arguably justified, still generates a well of sympathy.
7. Mia Wallace – “Pulp Fiction” (1994)
A rich revamp of the “gangster moll” type, Uma Thurman’s character has all the best strengths of Tarantino’s writing: a rich story of her own, a kooky sense of humor, and the slight contradictions of people in our own lives. There’s a clear chemistry between Mia and Vincent, but counter to the standard from classic films, we get to see the two relating as equals rather than as potential sexual partners, despite whatever Vincent may be thinking at the end of the night.
6. Mr. Orange – “Reservoir Dogs” (1992)
The optimism and naïveté of Tim Roth’s character, together with his easy rapport with Harvey Keitel and his deliberate positioning as an audience entry point, make him a key highlight in “Reservoir Dogs.” His vulnerable bravura performance of a monologue designed to ingratiate Orange with the crooks —aided and abetted by camera and editing— really allow the undercover cop to become the movie’s complex “hero.”