All the films from all the editions, including those subsequently removed, presently totalling 1167. 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…
This was the first Tarantino movie that I ever saw, and it was the first movie that I saw at the theaters with one of my best friends, so it will always hold a special place in my heart for obvious nostalgic reasons. On top of that though, Inglorious Basterds is unadulterated awesomeness. Watching Christoph Waltz as The Jew Hunter never gets old.
This film felt so much like masturbation, as a lot of the films about the Nazis do. I'm all with it, fuck Nazi scum.
The film takes this no where though, the righteous, almost blind anger against the Nazis is so dull.
There is nothing gripping, intellectual, or questioning about this film. I felt utterly bored watching it.
"Now if one were to determine what attribute the German people share with a beast, it would be the cunning and the predatory instinct of a hawk. But if one were to determine what attributes the Jews share with a beast, it would be that of the rat. If a rat were to walk in here right now as I'm talking, would you treat it to a saucer of your delicious milk? I didn't think so. You don't like them. You don't really know why you don't like them. All you know is you find them repulsive. Consequently, a German soldier conducts a search of a house suspected of…
Written in 4 languages, juxtaposing between 3 main story-lines and creating one of cinema's most instantly beloved villains in the process, Quentin Tarantino's self-described masterpiece is nothing short of the title it's been given. Standing at 2 1/2 hours, but feeling like a mere 90 minutes, Tarantino gives us the step by step explanation as to why he claims history to consist of the world's greatest movie plots. Ending WWII on his own conditions, we only wish we could read the history books as they were written in his world. Although my high regard for "The Hurt Locker" stands tall, I will admit to be baffled as how this did not take home a best original screenplay Oscar in early…
This review reportedly contains spoilers. I can handle the truth.
About that opening scene: One of the reasons Quentin Tarantino gets away with so much dialogue is how he uses pre-established situations or archetypes. Gangland enforcers, slave traders, or here, an SS Colonel visiting a man who clearly doesn’t want to be visited. I know SOMETHING is going to happen, so I’m leaning in to try to figure out what, and how, and when.
Another key to the scene: A lesser writer (me) would probably put Col. Landa in the scene with a poor, dumb overmatched schlub who doesn’t know what’s about to hit him. QT makes the farmer cool and canny, which makes Landa look even smarter and more ruthless when he plays his ace.
Chapter 2: Inglourious Basterds.…
freakin love this film man
DEATH PROOF is probably his "best,"
and CSI: Grave Danger might be his most fun,
but INGLOURIOUS BASTERDS is my favorite QT.
Not only the obviously similar scenarios (eccentric hitman pursues targets) but the lighting and Robert Richardson's cinematography invite a compare/contrast between JewHunter's intro and Jules & Vincent's briefcase retrieval scenes. One has a big sturdy table where the guys make it a point to formally serve milk and smoke pipes and the furniture could hardly be more central to the goings-on; the other has a guy awkwardly eating a meal (and watching someone else eat it) while sitting on a cheap lonely chair in the middle of the room. And so on. This analysis doesn't go over well in text form like Letterboxd here, but get me in a room with adjacent monitors and the power of the pause button and I'll break down some Tarantino technicalities. I can be quite annoying but we'll probably learn something.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…