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BY MH5440 lister
BY adamatdramatrain superstar
Divided into 5 titled chapters, QT’s distinctive style is scattered throughout the film, with a number of his trademark devices exercised, gloriously defying regular filmmaking conventions, including a twice utilised narrator whose voice will be instantly recognizable to Tarantino fans. The dialogue employed within the movie is as brisk and adroit as ever, with scenes that serve to embellish its cadence. Playing with tension is another technique that Tarantino has relished in here, whereby a number of scenes are perpetuated through his ability to elongate the palpable anxiety running just beneath the surface of the character interactions. Customarily, everything in the picture is purposeful and highly detailed right down to the characters names, which are often in homage to Tarantino’s silver screen heroes.
As a proven expert at making use of great music for the creation of classic and enduring scenes, QT was again true to form with the inspired infusion of many action complementing pieces including most notably, David Bowie’s “Cat people (Putting out the fire)”, applied during a beautifully shot and skillfully crafted montage, which features our heroine Shosanna preparing for her final act and serves as the introduction to the final chapter of the film. Imbued with moral ambiguity in its unsettling triumph, this decisive act and culmination of Tarantino’s reimagining of history is a powerful sight to behold, and one which leaves a lasting impression on the viewer while metaphorically reading as a love letter to the power of cinema.
Unsurprisingly, in a cast fronted by Brad Pitt (as Lt. Aldo Raine), it is the other relatively unknown actors (to western audiences anyway) that are the veritable treat of the film, including the brilliant performances of Martin Wuttke as Hitler, Sylvester Groth as Joseph Goebbels, August Diehl as Major Hellstrom and Daniel Brühl as Fredrick Zoller. However, it is Christoph Waltz as Landa & and Mélanie Laurent as Shosanna who undoubtedly steal the show. One, as the wild and heartless, self-serving villain and the other as the anguished and soulful, self-sacrificing heroine, they adeptly embody the two characters on which the success of the film was ultimately dependent. It is undeniable that with Basterds, QT has again created a band of bold and original characters who are surely set to be endowed into the hallowed halls of the Tarantino cult cache forevermore.
Under the self-proclaimed guise of a “spaghetti western with WW2 iconography”, Tarantino has delivered both his most purely entertaining movie yet and an unforgettable film-going experience. But more importantly, with this film he was able to grant the Second World War a somewhat burlesque ending laced with the sense of poetic justice worthy of the carnage and madness that had preceded it. Some will call it self-indulgent and pretentious, however, it is well worth arguing that most art, and the best art is just that. Ultimately, Basterds was a daring filmic celebration made by a film lover for film lovers and anyone who holds claim to the title of ‘cinephile’ would be imprudent to miss this picture on the big screen.
(Take it from a life long film lover who has watched this 5 times on the big screen.)Hide
BY Matthew-Bluck wannabe
As per normal the movie is a comic book narrative made real, the violence present is brief and sudden and punctuates the dialogue which is just great. I expected it to be a bad movie and it was just great. Nothing is what you would expect from normal narrative convention in movies, if its self indulgent then good for tarantino.
It isn't cool. It's too little, stretched too far, in too many damn directions, none of them particularly interesting. Melanie Laurent is cute as hell, but that's hardly a substitute for, y'know, a story with believable (or even likable) characters. I love some of Quentin's other flicks, but this one feels like he wrote a first draft and nobody ever had the balls to tell him it was a mess. Patchy, bloated, and way too self-indulgent... even by Tarantino standards, which is saying something.
I wonder about all these rave reviews on here. Not much intelligent content in them. The cinematography was excellent, as was the classic Tarantino style. The storyline however was quite weak and the 'Basterds' as a Nazi killing entity never really engage you. Brad Pitts character was out of place, and when leaving the theatre I felt indifferent. Go see District 9 if want to be entertained for your money.
Camp enuf to make the scalping violence comically entertaining.Modern episodic presentation , quirky onscreen writing,brad pit 's southern drawl and folky witicisms,tight editing,excellent lighting ,narratively supporting music,make this the best movie this year.Tarrantino has us revelling in bloodshed and letting us feel rightcious about it.
BY Wi-Kiwha nobody
Very good movie. I was expecting it to be more like Kill Bill but it was more Kill Bill 2.
Outstanding performance from the "Jew Hunter" who made you cringe and the unknown actress who played "Sosanna" who was Hot (but could also act)!
Tarantino fans will enjoy it, girlfriends not so much.