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…
This may be Tarantino's best film. It is certainly his most ambitious, and his funniest. With his craziest plot and characters, this film takes the Pulp Fiction-esque approach and pumps it with steroids. The result is a highly imaginative, hilarious, entertaining, war satire. Also, Tarantino's direction here is his finest. From the extreme close-ups in the basement, to the tracking shots in Mimieux's cinema, each scene is made with a fresh feel to it.
Any Quentin Tarantino movie is going to be pretty good, but this movie was probably my least favorite of his. A few tense scenes and an amazing performance by Christoph Waltz is what prevents me from giving this a lower rating.
Quentin Taratino is not my cup of tea. Although some of his movies have merit, as an auteur I find him pretentious. However, even though this film does have a powerful, tense story to tell, it is almost let down by QT's continued insistence on an immature serio-comical tone that hardly produces laughs (except the scene where Brad Pitt is supposed to be speaking Italian, which was sidesplitting), and a completely anachronistic soundtrack that reminds us of Sergio Leone's Westerns. Why won't he get over it? The story of the Jewish survivor masqueraded as a French cinema owner, plotting revenge against the SS detective who killed her family, is cinematic gold. Kudos to Christoph Waltz for his chilling performance as…
It’s often pure joy to watch Tarantino's films. He is just such a superb and interesting filmmaker that always brings something new to the table, always shocks and surprises. I noticed how many narrative shifts and leaps there were in this film and it was a reminder of just how screenplays SHOULD be written. Tarantino is a master of creating tension with scenes he allows to breathe to such an extent that they become more intimate and you feel like a bystander or fly on the wall. His dialogue is styled, yet there is at the same time a natural flow while all the time building tension because of this familiarity you have with the characters and their fates. Put…
really good, typical tarrentino, but not his best
Though some of the performances shine and it still has that enjoyable Tarantino edge, half the time Inglorious Basterds is either too silly or too dull. When they aren't laughably over-the-top (for better or worse) most scenes are simply biding time until the inevitable occurs which makes for a tense albeit a little boring viewing experience, but when the slow build up is over, it normally delivers a fun pay off. Can't say I enjoyed this a ton but I certainly don't regret watching it.
Tarantino's indulgence in WWII history could have been great had it not been for the film's third act. It's one thing to set fictional events in a historic setting. It's another to mess with the actual history. As much as it makes for a poetic ending, it was simply bizarre.
Tarantino's writing creates a curious mix of heavy drama with jarring comedy, and together with such a powerful backdrop, makes a picture that is fresh and entertaining, while leaving a very dark undertone.
Qualified success. It's an interesting change in this day and age to have a gleeful, unrepentent war movie, though the juvenile revenge fantasy portrayal of the Jewish unit (not helped by Brad Pitt's cartoony performance - someone reset that dislocated jaw for the lad, please) won't be to all tastes.
There's a lot of largely unnecessary chaff in the script (Michael Fassbender's character really doesn't do much beyond kill twenty minutes and the subplot with Daniel Bruhl also feels like it takes up too much space) and yet at the same time the movie jumps over a lot of stuff that did need explaining - if it's as easy to get at the Germans as dropping eight guys behind lines…
- 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 - Friday, November 22, 2014
The letterboxd crew has unveiled a new feature that allows users to…
- 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!