There are moments of absolute genius in this film. These moments of brilliance are wedged between sophomoric, half thoughts that should have never made it to the screen. This film is like having fine filet Mignon served between two slices of stale Wonderbread.

The film is little more than a childish revenge fantasy where a small band of eight Jewish soldiers are assembled to commit acts of terrorism against the Nazis who are occupying France. Okay, the film actually has very little to do with that set up. Actually, Tarantino wanders about and all but avoids this construct. Instead he focuses on a developing plot between the soldiers and partisans to blow up a small cinema where all of the Nazi hierarchy, including Hitler himself, will be in attendance. This split narrative offers two avenues for Tarantino to travel. One is a send-up of the highly self-congratulatory aspect of war films; the other a reminder that war film are indeed about real death and real human evil.

Those looking for any historical accuracy will need to look elsewhere. Then again, as with most war movies, Tarantino bends history to meet his temporary needs. To complain that Tarantino takes obvious liberty with reality is as silly as looking at John Wayne's war films and considering them adept examinations of the historical record. What is interesting is that the more preposterous Tarantino gets with his mockery of war movies the less effective his film making becomes. It is when he is dealing very possible situations that the film achieves its highest points.

The "good parts" of the film opens with a carefully executed scene at a French farmhouse. German Colonel Hans Landa (Christoph Waltz), a.k.a. "The Jew Hunter" has come looking for missing Jewish families from the area. Landa carries himself with a pleasant, refined manner but we understand immediately that this is a slick exterior covering a sinister soul. As the smiling Landa slowly decimates the farmer's hope of keeping the secret that the missing Jews are under his floorboards, it becomes clear we are being treated to a great performance.

The film has Tarantino's name on it. The posters promise Brad Pitt. The fact is that this is Christoph Waltz's movie. His portrayal of Landa is enthralling, absolutely amazing. His demeanor, speech, the way he manages his dialog puts Waltz's work on par with great performances such as Anthony Hopkins' Hannibal Lector or Ralph Fiennes' Amon Goeth.

It is Waltz's scenes that raise this film above its juvenile roots. When critics praise the film they are thinking of the scenes involving Landa investigating the brewing plot to kill his superiors. The character brings a dark cloud of tension and death wherever he goes. Tarantino smartly allows him to have long, patient conversations with others and the director drags out the tension to excruciating lengths.

The frustrating thing of this film is that Tarantino, while bright enough to create Landa, wasn't controlled enough to give him a worthy adversary. Landa lurks about, causing fear and trembling but there is no one of note confronting him. The "Basterds" are all one dimensional half-thoughts. I dare say that most people watching the film could remember any of their names. The head of the American squad is Lt. Aldo Raine portrayed by Brad Pitt. Pitt embarrasses himself with a shallow performance that is highlighted by the comparison with Waltz. Pitt wads some cotton balls in his mouth and takes eagerly mocking Tennessee hick accent and considers his work done.

To be fair to Pitt and crew Tarantino's script abandons them early on. Down the other road the film travels, we are introduced to the Basterds. Tarantino promises us we'll go along with them on their exploits but then we discover that the frantic director is satisfied with assuming we wouldn't be interested in such nonsense. He shifts gears exploring the preposterous cinema plot. Had Tarantino taken Raine more seriously and raised him to the level he developed Landa, this could have been a masterwork. As it stands, it will get attention but it will also fade away over time. Another example of Tarantino preferring schlock over art.

Cautions: This is a Tarantino movie - there is blood, shooting, stabbing, bludgeoning and pain. There is also plenty of bad language. Although, I probably don't need to tell you that.






Related Reviews:
World War II movies
Hart's War (2002)
Der Falscher "The Counterfeiters" (2007)


Other Critic’s Reviews:
Roger Ebert
Commentary Magazine

Labels: Brad Pitt, Eli Roth, film, movie review, Nazis, Quentin Tarantino

h/t Dr. Epps

Labels: Brad Pitt, Eli Roth, Quentin Tarantino, review link

Tarantino makes amoral, flashy but hollow flicks but they sure do make for great trailers. This ad gives the full vibe of the movie and certainly promises what it delivers - a stylized, sharp-edge movie. Too bad the actual product is critically flawed. It is the epitome of style over substance and is best viewed within the confines of a few minutes like we have below.

Labels: Bruce Willis, Christopher Walkin, film, Harvey Keitel, John Travolta, movie trailer, Quentin Tarantino, Samuel L Jackson, Tim Roth, Uma Thurman

Screenwriter: Quentin Tarantino (Reservoir Dogs)
Director: Quentin Tarantino (Pulp Fiction)
Actors: Brad Pitt (12 Monkeys), Diane Kruger (National Treasure 2: Book of Secrets), Eli Roth (Death Proof), Mike Myers (The Cat in the Hat) and Samuel L. Jackson (Snakes on a Plane)

Labels: Brad Pitt, Eli Roth, film, Mike Myers, movie trailer, Quentin Tarantino, Samuel L Jackson, World War II

Quentin Tarantino is a talented guy there is no doubt. He has a sharp eye, a masterful control of language and knows how to wield his encyclopedic knowledge of cinema and pop culture. For all of his gifts however, he is also a master at squandering them on pap nonsense. This film,a twisting collection of underworld tales of mobsters, hit men and a wayward boxer, is a marvel. It is brisk, catchy and wonderfully shot. The acting is inspired and the dialog is poetic. There is no denying the lure of the production. It is unique. It is also the biggest example of style over substance. Tarantino paints a brilliant picture but fails to infuse it with any purpose. The movie was made simply to be watched, consumed and that's all. There's no over riding reason to see the film other than it's "cool". This is fine if you're a simpleton who has no expectation out of cinema other than to be titillated. If you expect more out of film, when you break this thing down and look at it, it is hollow.

The lack of a point wouldn't be that big of an issue, there's plenty of content-free movies out there, but this is such an ugly movie that it makes me pause. The characters are hideous people doing horrendous things to each other. Everyone is an amoral monster carelessly drifting through the world causing mayhem and bloodshed. Instead of pulling the various plots together into a decisive moral point, Tarantino is comfortable letting the loose ends float in the wind without either resolution or any deeper meaning. Someone dies, it's no different than if they live. A man is shot in the back of hit man Vince Vega's (John Travolta) car he's the referred to as a "dead nigger" for the remainder of the scene. He's not a man, he not an individual, he's not respected, just a "dead nigger" who needs to be mopped up. If it were clear that Tarantino were trying to show the world as an amoral jungle it would be passable but he never feels the need to explain things that far. Things just happen and the things that happen are simply ugly. I am certain the reason for this is because of how the script was written. The script, with all of it's fast dialog and broken time lines, is actually very simple. Reading it, it seems apparent to me that Tarantino sat down and thought of some scenes he thought would be cool to produce. The needle in the heart, the hillbilly male rape, the standoff in the diner, etc. These scenes are anchors me established and then wrote wandering threads to each of them. There are five or six solid scenes with riveting action the rest of the film are meandering paths to these scenes.

It is clear actors thrive when given Tarantino's dialog. He offers them, not so much deep characters, but interesting ones and with the popping dialog there is plenty for trained actors to dig their teeth into. In particular Samuel L. Jackson finds a rich role in hit man Jules, who is transformed after surviving an ambush that should have taken his life. Jules sees God's hand in the event and feels that he's been spared to do greater things. This redemptive element could have been drawn out and held meaning but Tarantino doesn't seem to know what he has on his hands. In the end, Jules' epiphany is explained and his explanation falls flat, weighed down by irrational pop culture references and a lack of direction. I found myself wanting Jules to pull himself out of this criminal life and his choice to wander the Earth, doing good deeds, sounds wonderful, but this brief respite from the amoral morass Tarantino creates has as much impact as spitting in the ocean.

Ultimately, this is not the brilliant work of art it has been portrayed to be. It is a lively, invigorating piece of cinema, to be sure, but it's not a masterwork. I understand why so many claim this to be brilliant. It is a vivid work and there's no ignoring it. As I said, it is unique. But when you stop to really look at it, there is actually very little going on other than a lot of flash and bang. I give credit for some great dialog, but the overall film is just a vile trip through the imagination of a man who is stuck in his corrupted adolescence. as I've said before, Tarantino is a legitimate talent but he has the instincts and mentality of an abused twelve-year-old boy with a box of frogs and firecrackers.


Related Reviews:
Quintin Tarantino movies
Kill Bill Volumes 1 & 2 (2003 - 2004)
Reservoir Dogs (1992)


Other Critic's Reviews:
Roger Ebert
ScreenIt!

Labels: Bruce Willis, film, JohnTravolta, movie review, Quentin Tarantino, Samuel L Jackson, Uma Thurman

Well, it looks like stupid has a new name.

Actually, director Takashi Miike has been making crap for a very long time. It says something that his marketing begins with Quintin Tarantino claiming he's one of the greatest directors today - particularly since Tarantino is actually in the movie. I'm great - no I am, just ask my employee. Miike makes hyper violent flicks that are extremely low on morality. He's influenced torture porn producers like Tarantino and Eli Roth among others with his films that celebrate gore and extreme cruelty. Even by Miike's low standards, this production looks cheesy and downright moronic.





Screenwriter: Takashi Miike (The Great Hobgoblin War) and Masa Nakamura (4.6 Billion Years of Love)
Director: Takashi Miike (Three...Extremes)
Actors: Hideaki Ito (The Princess Blade), Kaori Momoi (Love and Honor), Yusuke Iseya (Blindness) and Yoshino Kimura (Blindness)

Labels: film, movie trailer, Quentin Tarantino, Takashi Miike

Tarantino, for all of his foulness and violent imagery, does have talent. Its too bad he uses his incredible writing skills to make vapid, post-modern wastelands. This, his first film, was one of the most astounding introductions of a filmmaker in the last twenty years. Yes, it is violent and it is wall to wall cursing, but in its defense, it is one of the best written films of the 90's.

I don't like what Tarantino stands promotes. I believe most of his films are a shameful waste of talent and energy and serve the lower elements of the audience. For better or for worse, he is an important figure in the industry and he's going to be around for a while.

This film showed his promise, and he's spent the remainder of his career turning on that promise. With the gifts this man was given to use them on making vile and often cheesy flicks that celebrate the worst cinema has to offer - its like Pavarotti stooping to singing rap tunes or Steinbeck taking up writing missives for the Penthouse Forum. Tarantino, considering what his talents could create, to see the pap he's made, it's shameful. Then again, he's a sort of a touchstone for a whole generation of artists. Given the unbelievable technology and the wide freedoms of expression, more than any other generation could have dreamed of having, what do we get? Corporate rehash of forgotten classics. In a way, his continued obsession with retro nonsense and filth do make him the voice of our times.

Caution, the trailer does contain expletives.







Screenwriter: Quentin Tarantino (Pulp Fiction)
Director: Quentin Tarantino (Jackie Brown)
Actors: Harvey Keitel (Be Cool), Tim Roth (Rosencrantz and Guldenstern are Dead), Michael Madsen (Kill Bill Vol. 1), Chris Penn (True Romance), and Steve Buscemi (Monsters, Inc.)

Labels: film, Harvey Keitel, movie trailer, Quentin Tarantino, Steve Buscemi, Tim Roth