Honestly that surprises me, cause I feel his film quality dipped with Kill Bill and only just started picking back up with Django. Long movie sure, but I'd also take hateful over anything in between those. Kill Bill, Inglorious, and Death Proof are serious mixed bags for me. They're like Tarantino's mid life crisis movies to me, where he got so far in he lost touch.
To Death Proof's credit, I did appreciate it was a bit more soberly put together.
In terms of editing, I don't just mean length or scenes that simply feel somewhat lacking in precise execution. The actual choice of cuts is sometimes severely flawed.
Like there's that scene in Django where he returns to the house where the trackers with the dogs are and there are those random shots in close up to open the scene that appear to just be there to reveal that Zoe Bell is making a cameo (what is shown plays no significance otherwise), followed by a long, lingering shot that you assume is going to eventually convey
something. It doesn't really. It just kind of... happens. The way the scene is edited together as a whole makes the viewer's perception of space really confusing. The shots jump around the room, constantly breaking the 180, but doing nothing with the momentary disorientation that comes with that. In any kind of action oriented scene, not being able to easily take in the layout of the space is a pretty serious flaw unless that is a deliberate choice meant to convey something about the story. Here it just feels like an accident that nobody in the edit bay noticed.
It's just one moment but it feels sort of emblematic of the arbitrariness that feels present in moments of Tarantino's latest works that never felt like it was there before.
Personally, I feel like Basterds is his true masterpiece, largely because of how flawless each cut is. The incredibly long, tense dialogue scenes are so carefully executed and each lingering glance feels deliberately chosen. The first scene with Christoph Waltz is just around 20 minutes, the vast majority of that time spent sitting at a table, quietly speaking, and it manages to somehow move very quickly, never lingering for too long, but all while creating a prolonged and building sense of dread. The tension is unbearable, but not even a moment is wasted. Obviously that's largely down to Waltz's incredible performance, but in the hands of a lesser editor those prolonged pauses could become ham-fisted and false instead of menacing. The film is thoughtful in every moment in a way that I feel is sometimes lacking in the last two works. They're certainly not bad films, by any stretch, but it strikes me that perhaps much of the restraint Tarantino had as a filmmaker might have evolved largely from this collaboration that is now lost.
But Menke was one of our greatest living editors, honestly. Anyone who came after would have a lot to live up to. I just feel as though I didn't realize the full extent of her influence on Tarantino's work until she became fully absent from it.