All the films from all the editions, including those subsequently removed, presently totalling 1154. 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…
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…
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…
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…
It's a Tarantino film you know it's gonna be good.
Christoph Waltz Is fucking brilliant.
"You probably heard we ain't in the prisoner-takin' business; we in the killin' Nazi business. And cousin, business is a-boomin'."
The first 20 minutes are perfect. The story is interesting, especially the revenge sub-plot. The tone, tension, plot, and dialogue throughout are all excellent. Using three different languages in addition to English is impressive especially when less than half is in English. Melanie Laurent and Christoph Waltz both did an outstanding job. Even better the second time.
No matter how strangely audacious or even arrogant it may seem when Pitt's Aldo Raine proclaims - as a mouthpiece for Tarantino - tongue-in-cheek in the final frame that this may be his masterpiece, he's actually right. This is the one. More than Pulp Fiction and more than Reservoir Dogs, this one holds up the best, uses the notorious style most effectively, and feels the least over-written. If that sounds like damning with faint praise, it shouldn't; I just often can have a slight aversion to Tarantino's overwrought-ness, and I never felt it here. This one's the masterpiece.
Pure entertainment thanks to a brilliant Christopher Waltz. My favourite Tarantino.
Tarantino has made his best feature since Pulp Fiction, and considering how good Kill Bill Vol. 2 is, this is a glourious achievement.
Well I certainly didn't expect this movie to be any good. I heard about it being good for so long I inevitably expected it to be overhyped to the extreme, and having finally watched it, I can say how wrong I was. I loved it from start to finish, theres not a bad actor in the whole thing, theres not as much action as I expected, but what there is is fantastic, highly recommended, now I'm gonna watch Django.
The structure of Inglourious Basterds is deceptively simple, so much so that the 2 ½ hour film consists of merely a handful of scenes. But each scene features one of the fundamental elements of effective storytelling: change. The scenes start inert, the scenes grow, develop, evolve, explode through character interaction, specifically language, like chemicals carelessly thrown into a beaker (all dependent on strong, fully realized characters), then the scenes come to an unpredictable, yet satisfying conclusion that feels effortlessly inevitable. Tarantino crafts drama that’s grounded in character deception. Every character conceals the truth. Does the other character know his or her secret? When will he or she discover it? By holding the answers, Tarantino creates squirm-inducing tension.
Of course, excellent performances and Tarantino’s signature film grammar amount to one exhilarating movie experience.
My only complaint about this movie is I wish it was 10 hours long.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- The Godfather
- Seven Samurai
- The Godfather: Part II
- 12 Angry Men
most recent update - Sunday, September 14, 2014, 8:32 PM EST
The letterboxd crew has unveiled a new feature that…
- The Racket
- 7th Heaven
- Sunrise: A Song of Two Humans
- Chang: A Drama of the Wilderness
Every film that has ever been nominated for an Academy Award in any category. Enjoy!