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When I first watched AMER, aside from all the references to classic Euro-Crime and Giallo movies, the first movie that sprang to mind was Kill Bill. Although in terms of style and storytelling these two films may at first seem poles apart, what they share is a way of using genre movie tropes in a similar fashion to musicians who uses samples to create new music. I always thought of Tarantino as the DJ Shadow of movie making.

DJ Shadow pushed Hip-Hop forward by creating seemless new music out of layer upon layer of dusty samples. Rather than using well known hooks and trusted beats to create party joints, he favoured film soundtracks, obscure jazz albums and oddball vinyl ephemera to construct music that was entirely his own despite being the sum of other peoples parts.

Tarantino didn’t merely pastiche or parody his favourite movies, he woves sections of them together to craft new narratives within films that stood on their own merits.

It’s worth noting that both artists emerged in the same irony drenched, retro obsessed 90s mileau, but that both of them used knowing references and nods to the past to move their chosen artforms forward. Both were also evangelists for the people who influenced them.

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AMER has done the same thing for it’s chosen genres, albeit to create a movie that’s less straight forward and immediate that Quentin’s celebrations of cinema excess.

Perhaps Tarantino himself can also see the connection, as he’s just put AMER in his top 20 movies of 2010. Check out the rest of the list over at HOLLYWOOD REPORTER