Inglourious Basterds… Kind of.

inglorious_basterds_fake_movie_poster_onesheetBitchin’ Film Reviews is back!  I went on a very nice vacation, and fully planned on keeping up the blogging while I was gone, but it was pretty difficult to drag myself away from the beach.  I barely managed to see Inglourious Basterds.  I would have like to review Tarantino’s latest film, but, like times in the past, I’m choosing to quote other critics here since they’ve said it all and better than I can.  I did enjoy IG.  At first I was underwhelmed, but as my buddy pointed out, Tarantino likes to make you think you’re getting one thing, and then give you another.  And it takes at least two viewings to get to his point.  The dialogue was witty (except the self-righteous moments, ‘In France, we respect directors…’ yawn), the acting was great (I’m looking at you Michael Fassbender and Christoph Waltz).  The biggest misstep was casting BJ Novak.  That guy is worthless in this film.  I can’t put my finger on it, but even though I enjoyed it, this felt like lesser Tarantino.  But more thoroughly, here’s what others had to say:

Anh Khoi Do and Movies (full review):

“…despite the use of a dark humour, Tarantino obviously had in mind that the Holocaust happened. Given that the art of cinema is not short on films about the Nazis’ unspeakable cruelty towards Jews, this film takes fun at showing Jews who take revenge for their fallen coreligionists. After all, wasn’t Tarantino aiming for an entertaining film about remorseless (and rationalized) cruelty? All in all, if you’re expecting a film about the Second World War as you know it, then skip this film.”

The Dark of the Matinee (full review):

“INGLOURIOUS BASTERDS is one well crafted movie. It takes its somewhat long running time, and completely fills it with nothing but tense scenes loaded with snappy dialogue. Most of the scenes are seperated by a title card (a la KILL BILL), however they proceed to build upon one other. By the time its all over, the audience has a complete nuanced story, as opposed to a series of loosely related vingnettes.”

The Flick Chick (full review):

“By and large, the film really worked for me, although there are two things that didn’t. First is the film’s use of David Bowie’s song “Cat People,” which I found jarring and really took me out of the movie, although this anachronism perhaps eases the way for the grand inaccuracy of the film’s finale. The second thing has to do with the film within the film. Much of Basterds is subtitled because the German characters speak German and the French characters speak French rather than falling back on the old movie standard of having characters speak accented English.”


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5 Responses to “Inglourious Basterds… Kind of.”
  1. Mad Hatter says:

    Wow – Thanks for the plug! Hope your vay-cay was a good one, lookin’ forward to readin’ your stuff again.
    .-= Mad Hatter´s last blog ..Buffalo Soldier (MEN WHO STARE AT GOATS Trailer) =-.

  2. Anh Khoi Do says:

    Thanks for the link! Although I didn’t like this film as much as Pulp Fiction, I definitely liked presence of memorable characters (who are memorably played). I’m obviously thinking about Christopher Waltz who has redefined the way to play a villain. In fact, he can skilfully hides so much cruelty under a deceptive veil of civilized manners.
    .-= Anh Khoi Do´s last blog ..On the Corner =-.

  3. Blake says:

    You’re welcome guys. Thanks for not being lazy like me, and actually reviewing the film.

  4. FLICK's 21 says:

    This film should wait…. i’ve been read more review too.. and I am also interested to be able to comment on this movie, but I have not seen it
    search.. Read my comment too for another movie i’ve been watch in my site
    .-= FLICK’s 21´s last blog ..District 9 : When The Aliens Persecuted by Humans =-.

  5. Tim says:

    I know I’m in the minority, but I found this movie to be a tone-deaf fugue of one-note ideas. Tarantino’s genius is knowing how to make loosely connected narrative strands and styles hang together. This picture kept unraveling before my eyes. The violence was too stupid to be dismissed as gratuitous; it was superfluous.

    So were the undergrad references to Pabst, Reifenstahl, and UFA. If he’d cracked open Eisner’s “The Haunted Screen” or Kracauer’s “From Caligari to Hitler,” he might have brought some depth to the interplay between German movies and their reflection of the Third Reich’s rise. Instead of being Godard, he settles for pretending he’s Godard and wastes the premise he sets up. The irony here is that the French girl sees what’s happening in the films she shows, while the German sniper is clueless. Without explaining that–either outright or showing us some revealing clips from UFA’s heyday–it’s pointless for most audiences. And that’s why the picture’s fantastic climax dissolves into a cartoon sequence. The majority of the audience never gets what’s on the screen is as evil and seductive as the villainous Philistines cheering it. Hitler, Goebbels, and the rest deserve to die because they hijacked one of the greatest studios in movie history. That’s why it’s funny. But if Tarantino even gets his own joke, he’s too carried away to let his audience in on it.

    Never mind that he fails to make the connection between the Jewish GI’s scalping of Nazis and the Apaches vengeance on racist settlers in American Westerns. (Or the business with the baseball bat and anti-Semitism in American sports.)

    We expect adolescent self-indulgence from Quentin. It’s his calling card. But self-inflicted ineptitude is not to be indulged.

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