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…
Tarantino : on adore ou ON DETESTE ...
Historically accurate or not, there's just something about Brad Pitt in war movies
I like the scene where Shoshanna puts on make up and is like F YEAH BOWIE ANACHRONISM & then gets ready to kill a hella lot of people.
The most hyper-stylized Tarantino film; incomparable historical revisionism that's at the same time hard-hitting and thrilling.
See my review at Filmmániás blog:
This 2009 war film is written and directed by Quentin Tarantino and stars Brad Pitt, Christoph Waltz, Mélanie Laurent, Michael Fassbender, Eli Roth, and Diane Kruger.
June 1944. Special Service Force Lieutenant Aldo Raine (Pitt) recruits Jewish-American soldiers who are known as ‘The Basterds’ for one purpose and one purpose only; the go into Nazi occupied territory and brutally kill Nazi soldiers to spread fear amongst the German forces. With second in command Donny “The Bear Jew” Donowitz (Roth), Raine devises his plans to stop the Nazi war machine.
Meanwhile, young Jewish girl Shosanna Dreyfus (Laurent), who escaped the SS execution of her family led by SS Colonel Hans Landa (Waltz) 4 years earlier, is working as a cinema projectionist…
There was a time called The ’90s when Quentin Tarantino used to make amazing movies, wonderfully brilliant on all levels, unlike anything the world had ever seen. Then a Y2K firework probably exploded a little too close to his head and since then he’s been making messy, superficial, mildly interesting high-budget film school experiments about cartoon characters with the world nervously smiling along like nothing happened, afraid of calling the emperor naked. This is one of his better silly experiments, but it’s not great. I want great from this man.
Theres a lot of small problems with this film that ultimately amass to one big problem that restricts me from fully immersing myself into this film's world. These things being Eli Roth and Brad Pitt's phoned in preformances, the lazy pacing, and pretty indulgent screenplay. This movie knows its being slick, which made it feel too greasy for its own good. Its got some real entertaining shit, like every Tarantino film, but it felt like he just told Brad Pitt to be jokingly militant as possible. Also "The Bear Jew" is stupid as hell and not really funny beyond its first mentioning. I did find the relationship between Laurent and Bruhl interesting and entertaining, the way Bruhl ernestly pursues her is sickening to the point of hilarity. Not really much else to say about this one, other than that the last 10 minutes are juicy, and they kind of make up for the films faults.. kind of
Every film that has ever been nominated for an Academy Award in any category. Enjoy!