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…
Für mich Tarantionos bester. Grandiose Darsteller, wunderbare Dialoge und trotz mehrfacher Rewatches immer wieder spannend. Ich liebe diesen Film!
A fine piece of work indeed.
I will say every scene with Michael Fassbender was indeed my favourite; if I possessed the ability to write a decent original screenplay and the lack of respect to shamelessly steal characters from a body of work, well Mr Fassbender's Lt. Archie Hicox would be my first victim. I have neither of those things however.
Anyway, one of my favourite characters ever, followed closely by the brash and brilliant Aldo Raine. These two had me in an imaginary world wondering desperately what the characters had been through and how they got to these points in their fictitious lives.
Damn Tarantino, always sending me on daydreams through characters untold backstories.
Tarentino explores the power and meanings of film violence, from propaganda to slapstick to cathartic power fantasy. He does so with some masterful suspense and gorgeous visuals.
"I need me eight psychopathic Jewish-American soldiers to go deep behind enemy lines to brutalize and murder every Nazi we see, and dismember them, and gut them and leave them to rot in the forest, and, oh, I want you to scalp 'em! I'll be collecting them scalps from you and keeping 'em for later. Those are for me! I WANT my scalps! So, basically I'm sayin' we go in there and just serial murder the fuck outta' some German people! Nazis! But, still people! Oh! And the ones we don't kill, we carve swastikas into their foreheads! Ya' know, for a laugh! Sound Good?!"
"Okay, these ones won't work. Send in eight more Jewish soldiers. One of these groups'll be crazy enough."
Ich habe ganz vergessen, wie genial dieser Film eigentlich ist. Ein typischer Tarantino, bei dem alles irgendwie bescheuerterweise zusammenpasst, obwohl es nicht zusammengehört. Musik, Schauspieler,Handlung ergeben ein Gesamtprodukt, bei dem man (zumindest ich) extrem viel Spaß haben kann.
Christoph Walz als Hans Landa ist einfach die göttlichste Rolle des Jahrtausends.
Mr Tarantino has really only made one misstep in his canon imo, and this sure isn't it. I think this is second only to Pulp Fiction in ranking his movies, and whilst its baginess is the main cause of just missing a 5 star review for me, it's sstill a magnificent, lush and hypnotic movie.
I'd love to see the basterds do a proper mission though.
- 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 - Saturday, October 18, 2014, 10:30 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!