All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Once upon a time in Nazi occupied France...
In Nazi-occupied France during World War II, a group of Jewish-American soldiers known as "The Basterds" are chosen specifically to spread fear throughout the Third Reich by scalping and brutally killing Nazis. The Basterds, lead by Lt. Aldo Raine soon cross paths with a French-Jewish teenage girl who runs a movie theater in Paris which is targeted by the soldiers.
If there is one person who understands the power of language it is one Mr. Tarantino. He has already proven he is a master of dialogue and here he pushes himself even further and tries his hands at writing dialogue not only in a completely different time period but also in not one but three other languages than English.
And the thing that increases the insane amount of respect I already had for the man is the fact that he succeeds superbly in capturing the cadence and flair we've come to expect from him in all of them.
Tarantino is never one for the complicated plot, he is all about the narrative, both visual and lingual. Here, he perhaps finds…
Upon its original release I approached Inglourious Basterds with some trepidation having found Tarantino’s previous two films (Kill Bill vol. II and Death Proof) to be self-indulgent, overly long and poorly plotted. Therefore it came as quite a surprise that I absolutely loved this comic book revenge fantasy despite it suffering from exactly the same issues that dogged his previous films. So why the change of heart despite it featuring familiar complaints?
Firstly, and perhaps most importantly, is that the film signalled a return to Tarantino’s great characters and dialogue. Death Proof was torturously boring for me because the film’s characters were just as dull (with the exception of the criminally underused Stuntman Mike) yet in Inglourious Basterds the film…
The last time I watched Inglourious Basterds was in a movie theater in 2009. Upon revisiting it last night I was surprised to find I liked it even more the second time around.
I was almost surprised at how often I found myself laughing at Brad Pitt's character's facial expressions, he was really great as Lt. Aldo Raine. Mélanie Laurent was also fantastic as the brave, intelligent and dedicated, escaped Jewish Frenchwoman named Shosanna who owns a little movie theater in Nazi occupied France. I loved her character even more when she was putting on her war paint to the tune of David Bowie's "Cat People" (Putting Out Fire). There is a scene where Shosanna is unwillingly and unexpectedly sitting…
Oh yes...this is fantastic. Absolutely fantastic. Let's just review some of the things I love about it:
1. The fact that this may seem like a remake from the title, but has pretty much no relevance whatsoever to the original.
2. Christoph Waltz...his line delivery is the best in the world (looks like he's perfecting it in Django Unchained!)
3. The spaghetti western under-tones. It's possibly the first WW2 western ever, and hopefully the last.
4. The size of Brad Pitt's bowie knife.
5. Michael Fassbender's terrible mistake in the bar.
6. Mike Myer's cameo.
7. Enzo G. Castellari's cameo.
8. The name of chapter 5 (Revenge of the Giant Face).
9. Tarantino's cameo as 'First scalped Nazi'.
“Au revior Shosanna!”
Isn't every film a big lie? Almost every film creates some characters and puts them in the middle of a dramatic situation and then pretends that it is showing us the truth. Movies take some facts and by dramatizing them they make something new, something that has never existed before. This may explain the significance of cinema, you can lie and then show this lie to other people and if you’re a good liar then people will enjoy what they’re watching , but people lie when they have something to fear, when they are ashamed of what has happened. So why not to change something as…
Quentin Tarantino knows how to grab your attention. Stylized violence, quotable scripts, memorable characters, and managing to turn relatively unknown actors into superstars. Inglorious Basterds has all those ingredients and much much more.
It was only a matter of time before Tarantino turned his attention towards a genre other than crime. What we got was this stunningly crafted alternate history war film littered with those Tarantino touches that made it unmistakably his. He gave us characters so vividly constructed that the ludicrously crazy plot seemed ever more plausible as the film progressed. Focusing on a twin story-arc that comes together in a fireball and a hail of bullets, it has one superb scene after another. From the moment Christoph Waltz…
I hate Tarantino. So I hated this movie. However the strangling was seriously one of the most intense scenes I've ever scene in cinema.
It's the sort of film I feel might improve with every viewing, but on the first one I was still very impressed. All the Quentin Tarantino wit and excitement is there, and the feeling of revenge is extremely satisfying.
After watching this over and over for the past two weeks, it's become one of my top 3 favorites.
Hans Landa i love you baby.
It's okay that I say that. I'm Jewish.
"We in the nazi killin' business, and cousin, business is a boomin'
Pure Tarantino. Absolute, classic, pure Tarantino. Loads of fun to watch and experience.
Imagine the fun they had filming this.
Tres veces he visto ya esta película y pierde con cada visionado. Poco me pasa con las películas de Tarantino, pero creo que Malditos Bastardos no está pasando el filtro tan bien como debería, cosa que me entristece un pelín. Para ser breves, diré tres incongruencias de la película que me dejaron algo loquérrimo: Hans Landa es un personaje que se nos muestra inteligente a rabiar, pero luego se cree que los aliados van a darle todo lo prometido en su "trato". ¿En serio? En cuanto llegue a las líneas enemigas o bien lo fusilarán o lo juzgarán en un futuro próximo. Otra cosa es, ¿de verdad se acabaría la segunda guerra mundial matando a Hitler? Los Nazis seguían una…
Never short of original, a wonderfully unapologetic QT takes from a variety of sources and tops them all. Here we've got a spaghetti western framework, a WW2 men on a mission tale on the surface, a quirk of revisionist history in its tale, and a personal revenge tale of David vs Goliath proportions at its heart. The film gives no real clear protagonist, yet the prime antagonist straddles the narrative with overwhelming power - Waltz dominates every single scene he's in - especially the farmhouse first, and he'll deserve his Oscar this year. The rest of the casting is typically QT great, the overlapping strands are fine, the violence more suggested than seen, the suspense of three sequences (the opening…
I could go through all of the reasons this movie is so good, but it would take too long. Let's just say that last line really says it all.
Watched with the Merely Players Film Weekend as part of our study of screenwriting. Edited for content.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…