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…
aka 13 CONVERSATIONS ABOUT ONE THING.
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…
Brad Pitt sucks
This movie is how I perceive history now. So long Hitler dying in a bunker, and hello to him getting his face shot off in a theater. #newhistory
This is the film that catapulted both Michael Fassbender and Christoph Waltz into the mainstream.
Una visión alternativa de la dictadura nazi al estilo Tarantino. Divertida y entretenida. Con un final desternillante y unos diálogos sobresalientes.
Mención honorífica a las actuaciones, sobretodo la de Christoph Waltz como Landa y la de Brad Pitt como Aldo. Inolvidables.
Si quieres ver un film ambientado en la Segunda Guerra Mundial, pero alejado de la seriedad de los conflictos bélicos entre Aliados y Potencias del Eje, esta película es para ti.
Tarantino vuelve a dar con la tecla del éxito, y esta vez de manera sublime.
PUNTUACIÓN FINAL: 8,7/10
aka 13 CONVERSATIONS ABOUT ONE THING.
The tone, as in all of Tarantino's work, is confidently level. To simply keep this story going from point A to Z with all the side trips, footnotes, and departures is a feat unto itself. It wouldn't be all too hard for one to argue that Waltz's sole purpose here on Earth is to be in this man's films.
And the "Dairy Farm" and "Fucking Basement" scenes don't even slow down as they walk into the pantheon.
With some really great action sequences and a really cool story, Inglourious Basterds is a great film but at one point of the film it does lack a little. Brad Pitt, Melanie Laurent, Eli Roth, and Christoph Waltz all give great performances despite the Waltz's performance is a little overrated. This film goes out with a bang and it was awesome.
Quite possibly perfect.
some movies make you REALLY like brad pitt--like maybe too much..? honestly, it could do with a bit more martial arts, but what couldn't, amirite??
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…