這是Quentin Tarantino的第一部長片，也開啟了他後現代拼貼風格又聒噪不休的導演之路。或許也因為是第一部長片，所以Quentin在這部片裡那些個人喜好的符號表徵以及拼貼內容出現的較不那麼大膽，不過不大膽不代表不好，他還是一直偷偷的、害羞的告訴你他喜歡的那些東西，如果你也是個影癡，就能發現其中的樂趣。
其實Reservoir Dogs對照來看是一部超低成本片，原本還只打算用5萬美元完成，裡面的角色也只能由自己與朋友來擔綱，結果在籌備期間的暫時性工作裡遇見了Lawrence Bender，才合組了自己的公司，當然，這個大戲癡聯邦公司取名也要用一部他喜歡的電影的名字Band Apart(還有更有趣的，其實Quentin本身的名字也是來自一部電影Gunsmoke中Burt Reynolds所飾演的Quint)，並且由Harvey Keitel開始得到其他公司的資金挹注與演員的投入，說是資金挹注其實也不過130萬美元之譜，攤來現在的製作預算真是有夠可憐。不過其實我覺得Quentin的電影一向都有種刻意營造B級片的味道在，場景也喜歡找現成、出現在他身邊的，所以還真就不大需要大成本。
接著是這部電影的角色，Quentin在第一部長片中女性的角色相當少，除了一開場的女侍還有過程中兩名與搶案相關短暫露面的女性之外，整部片就是純男性角色；但這並不代表Quentin的風格還有對女性話題的忽略。其實我覺得Steve Buscemi飾演的Mr. Pink就是一個帶有濃厚女性味道與意涵的角色(對啦，我知道外形是很難聯想)，故事中他的代表顏色以及同志身份也因此一直被提出來嘲笑，這裡面其實多少都帶有性別上的表徵意涵，也因此最後帶走鑽石的人才會是Mr. Pink，Quentin一向喜歡讓女性在他所說的故事最後過的快樂點、幸福點，當然最後你可能聽道微弱的警笛與嚇止聲，不過，他沒拍出來就是讓你自己想嘛！
Quentin的電影中還有一個特色，就是除了拍攝鏡頭與守法的切換外，他也很喜歡讓劇中人在自己的角色不同面向的人格特質裡面做切換，這樣情人格特質切換往往都是帶動觀眾情緒高潮之處：Kill Bill裡面Uma Thurman在復仇者、母親、情人等性格的轉變；Pulp Fiction裡面John Travolta那個狠辣殺手可以突然變成陪老大女人出遊又要盡力壓抑自己愛慕之意的閉俗；本片裡引人高潮的幾個鏡頭包括突然舉槍幹掉Michael Madsen飾演的Mr. Blonde時，還有Tim Roth飾演的臥底警察最後向Harvey Keitel告解請求原諒，還有Harvey Keitel演的Mr. White最後由最信任Tim Roth的人卻處死了他等，角色間的衝突轉換讓這些人都從螢幕上活了過來。
至於暴力美學，這已經不大需要去做說明，說是美學，其實是娛樂性，你覺得哪裏有娛樂性呢?在我看最有娛樂性之處其實是Tim Roth意外被劫車車主開槍打中之處還有在車上哀嚎那幕真的是搞笑的不得了，如果你要說最後Mr. White等人在倉庫中以鏈狀型態互相開槍以求保護自己與找出臥底，對我來說那道比較有強烈的戲劇張力，暴力造就的娛樂效果倒是其次了。
最後放上影片開頭處在餐桌上討論著Madonna的Like a Virgin這首歌的台詞：
Mr. Brown: Let me tell you what 'Like a Virgin' is about. It's all about a girl who digs a guy with a big dick. The entire song. It's a metaphor for big dicks.
Mr. Blonde: No, no. It's about a girl who is very vulnerable. She's been fucked over a few times. Then she meets some guy who's really sensitive...
Mr. Brown: Whoa, whoa, whoa, whoa, whoa... Time out Greenbay. Tell that fucking bullshit to the tourists.
Joe: Toby... Who the fuck is Toby? Toby...
Mr. Brown: 'Like a Virgin' is not about this nice girl who meets a nice fella. That's what "True Blue" is about, now, granted, no argument about that.
Mr. Orange: Which one is 'True Blue'?
Nice Guy Eddie: 'True Blue' was a big ass hit for Madonna. I don't even follow this Tops In Pops shit, and I've at least heard of "True Blue".
Mr. Orange: Look, asshole, I didn't say I ain't heard of it. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan.
Mr. Orange: Personally, I can do without her.
Mr. Blue: I like her early stuff. You know, 'Lucky Star', 'Borderline' - but once she got into her 'Papa Don't Preach' phase, I don't know, I tuned out.
Mr. Brown: Hey, you guys are making me lose my... train of thought here. I was saying something, what was it?
Joe: Oh, Toby was this Chinese girl, what was her last name?
Mr. White: What's that?
Joe: I found this old address book in a jacket I ain't worn in a coon's age. What was that name?
Mr. Brown: What the fuck was I talking about?
Mr. Pink: You said 'True Blue' was about a nice girl, a sensitive girl who meets a nice guy, and that 'Like a Virgin' was a metaphor for big dicks.
Mr. Brown: Lemme tell you what 'Like a Virgin' is about. It's all about this cooze who's a regular fuck machine, I'm talking morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick.
Mr. Blue: How many dicks is that?
Mr. White: A lot.
Mr. Brown: Then one day she meets this John Holmes motherfucker and it's like, whoa baby, I mean this cat is like Charles Bronson in the 'Great Escape', he's digging tunnels. Now, she's gettin' the serious dick action and she's feeling something she ain't felt since forever. Pain. Pain.
Joe: Chew? Toby Chew?
Mr. Brown: It hurts her. It shouldn't hurt her, you know, her pussy should be Bubble Yum by now, but when this cat fucks her it hurts. It hurts just like it did the first time. You see the pain is reminding a fuck machine what it once was like to be a virgin. Hence, 'Like a Virgin'.
Joe: Wong?
