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 is a man who loves cinema and Inglourious Basterds is his love letter to 'guys on a mission' movies (he once promised he would make one) and to the Spaghetti Western sub-genre. The plot is simple and easy to follow (it's a revenge tale about a group of American soldiers led by Brad Pitt's Lt. Aldo Raine who will try to kill every single German in Nazi-occupied France and about Shosanna, a French girl who got her family killed by German soldiers), but it's the way Tarantino tells this homage-filled story that makes it feel truly special.
Inglourious Basterds is probably his most professional work, where the fast editing works perfectly, the handpicked soundtrack (when Quentin finally discovered…
On his best days - and I freely admit he has awful ones. It's what happens when you blow a chuck of your Kill Bill budget on blow and Chinese hookers - watching a Quentin Tarantino movie is like going out to a seven-course gourmet dinner with someone who both understands and deeply appreciates food. Not a chef, who could be judgey or unable to leave work at home; not a food snob, who, regardless of what the salad is, will share his very strong opinions on kale; just someone who fucking loves to eat. His enthusiasm will be infectious. As you work your way through each dish, he'll tell you its origins and variants and why those combinations of…
Some thoughts on Quentin Tarantino:
This movie took me by surprise and Tarantino hadn't done that, for me, since Pulp Fiction. I can distinctly remember the feeling of awe and glee I felt in the theater when I realized he was actually going to kill Hitler. For some reason I didn't think he was going to re-write history, so when he did I had a genuine gut reaction to it and I loved it! And of course I've re-watched it many time and have come to love it for so many other reason as well: the tongue in cheek villain played by the delicious Christoph Waltz, the fantastic arc of Melanie Laurent's Shoshannah, and Tarantino's deliberate use of pacing - only he can master the slow creeping tension of a scene and then literally explode into gory violence.
Tarantino's best after Pulp Fiction and no less innovative, visceral or well-written and acted (though not quite the gamechanger which is why Pulp Fiction will likely always be top). Especially notable for essentially introducing Christoph Waltz to the world as the instantly iconic Hans Landa, as well as the luminous Melanie Laurent. And the fact that Tarantino does not insert himself into the movie is one of the many reasons this film trumps Django, as far as his revisionist histories are concerned.
Inglourious Basterds is a fine example of Quentin Tarantino trying his hand at revisionist history and for the most part, succeeding. The dialogue, character driven narrative, and cinematography are outstanding, but the film meanders a little too much for my liking here and there, and culminates rather underwhelmingly. However, the film showcases so many small glimpses of Tarantino's directorial genius and unadulterated love for cinema at so many different moments, that even if all the elements don't quite mesh together well as a cohesive whole, it is a somewhat forgivable offense.
Time for an unpopular opinion.
It's hard for me to justify a poor rating in the face of overwhelming praise. Every argument made for a film's success doesn't always ring true for me. The aspects people laud are often ones of which I'm critical. And it's not always easy to support reasoning that you can't completely sort out in your mind. Sometimes you just don't enjoy a film, without an easy cop out on which you can base your rationale. Undoubtedly I will be unsuccessful in supporting my opinion, but regardless, I shall make an effort to do so.
When this film was first released it held no interest for me whatsoever. The trailers made it feel overdone, with exaggerated…
Owned - Blu-Ray
Incredible, violent, original and awesome
This review reportedly contains spoilers. I can handle the truth.
The final shot of Inglourious Basterds is Lieutenant Aldo Raine, having just carved a swastika into the head of SS Colonel Hans Landa, declaring "This might just be my masterpiece".Ostensibly referring the mutilation Raine has just committed, one cannot help but feel these a truly the words of writer/director Quentin Tarantino, and in actuality refer to the film itself. And if the film itself is what the words refer to, then Tarantino is most definitely correct.
Tarantino's flourishes as a writer are on full display here;almost every line of dialogue uttered is either oozing with suspense or dripping with dark comedy. Additionally, from Michael Fassbender portrayal of British Officer Hicox or Christoph Waltz's devilishly charming, albeit despicable, turn as Colonel…
This review reportedly contains spoilers. I can handle the truth.
Waltz takes this film to another level. First in the opening and later in the cafe and the cinema. Nothing easy about giving charisma to a killer. His performance is thrilling.
I love Brad Pitt, Michael Fassbender, and Mike Myers, too.
Samuel L. Jackson's voice over brings the same Royal With Cheese we loved so much in Pulp Fiction.
The violence is over the top. Either you can get on board with it or you can't. Django would take it a step beyond, of course.
There's lots to be excited about in Basterds. However, in my mind, the individual chapters outshine the film as a whole.
The piece of writing that impresses me the most is the way he ties it all up in the end. When Brad Pitt is captured by Waltz, it seems there's no way out. The reversal QT pulls is absolutely brilliant.
QT is undoubtedly a master. But I believe he peaked with Jackie Brown.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!