Quentin Tarantino’s Crime Thriller That Made 27x Its Budget Officially Hits Free Streaming

Published Sep 19, 2026, 8:00 PM EDT

Adam Blevins began working in the entertainment industry in 2022 as a Staff Writer for Agents of Fandom, where he progressed to Senior Editor and interviewed talent from Marvel Studios, House of the Dragon, and Planet of the Apes. He joined Collider as a News Author in April 2024, was promoted to a Senior position in December 2024, and has written over 3,000 articles for the site, including exclusives relating to Avengers: Doomsday, The Penguin, Star Wars: Skeleton Crew, and more. He primarily writes about the latest box office numbers and the hottest movies and TV shows on streaming, while also covering superhero and sci-fi news. He has completed a set visit for The Chosen and even has several months of experience writing Gaming Features at ScreenRant. You can find him on X, LinkedIn, and Muckrack.

It’s been seven years now since a Quentin Tarantino-directed movie hit the big screen, but one of his most iconic features is easier to watch than ever. This November, though, Tarantino is officially returning to theaters for the release of The Further Mis-Adventures of Cliff Booth, which is a direct follow-up to the 2019 Oscar-winning film, Once Upon a Time… in Hollywood. Tarantino wrote the script for the film, but he passed directorial duties to David Fincher (Se7en, Zodiac) — Brad Pitt will return as Cliff Booth in the film, but Leonardo DiCaprio is not expected to reprise his role as Rick Dalton. The Further Mis-Adventures of Cliff Booth is getting an exclusive IMAX release in November before it drops on Netflix around the world in December. Tickets are expected to go on sale any day now.

Tarantino has only directed nine movies in his career, but he’s given the world some of the greatest motion pictures of all time. Fans could spend eons debating which of Tarantino’s movies is his most famous, but when it comes to the most successful, most would agree that honor belongs to Pulp Fiction. Starring Samuel L. Jackson and John Travolta, Pulp Fiction hit theaters in 1994 carrying only an $8 million budget, and the film grossed more than $213 million at the global box office — that’s more than 27x its budget. 32 years later, there are no shortage of ways to relive Pulp Fiction or watch the film for the first time, if you’re one of the few who have never seen it. Not only is Pulp Fiction streaming on Paramount Plus and Prime Video, but the film is also available to stream for free courtesy of Pluto TV.

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

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