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Michael Apted recommended Pulp Fiction (1994) in Movies (curated)
Robert Ben Garant recommended Reservoir Dogs (1992) in Movies (curated)
Indie Saint: An Urban Fantasy Adventure (Words of Power #1)
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Jane's young. She's broke. Oh, and she just discovered she has supernatural powers so bizarre they...
BankofMarquis (1832 KP) rated Bad Times at the El Royale (2018) in Movies
Feb 6, 2019
Check Into the El Royale, You'll Be Glad You Did
BAD TIMES AT THE EL ROYALE is a bloody movie about bloody people doing bloody things at a bloody hotel.
It's also bloody good.
Showing the same original style and panache that I have come to expect from Director/Writer Drew Goddard (THE CABIN IN THE WOODS), BAD TIMES...follows the storytelling device of a Quentin Tarantino flick like PULP FICTION or THE HATEFUL EIGHT in that it follows a seemingly disparate group of people - each with their own story - who's lives intersect.
Goddard's reputation has, obviously, preceded him as on the surface this film looks like a "B" flick filled with gore and violence, but in Goddard's hands - and with some strong acting talent and VERY strong production qualities (the sets, costumes and music help tell the story), this film is elevated to something much more than a "B" flick.
Jeff Bridges (HELL AND HIGH WATER) stars (at least in one storyline) as a mysterious Priest who shows up at the El Royale for some reason - and it's not to change the Bibles in the rooms. He is joined in the lobby at check-in by a lounge singer played by Cynthia Ervino (WIDOWS), vacuum cleaner salesman portrayed by John Hamm (BABY DRIVER) and by a mystery women played by Dakota Johnson (50 SHADES...) - all have secrets to hide and through flashbacks and chance encounters, their stories erupt on each other. And erupt they do when into the mix comes charismatic, mostly shirtless Cult Leader Billy Lee (Chris Hemsworth) and his cult followers.
Goddard orchestrates this group of strong actors well, giving each character/actor moments to shine and play off each other. The dialogue, while not at a Tarantino level, was interesting and intriguing as much as what was NOT said then what WAS said.
But, make no mistake about it, this is an action movie - and action there is. Bodies, bullets and blood start flying as soon as these characters collide at the El Royale and bad times happen, for sure.
But, for me, this was a GOOD TIME AT THE EL ROYALE. If you like Pulp Fiction, Baby Driver, Hell and High Water or John Wick, then you'll like this flick. Check in to the El Royale, you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
It's also bloody good.
Showing the same original style and panache that I have come to expect from Director/Writer Drew Goddard (THE CABIN IN THE WOODS), BAD TIMES...follows the storytelling device of a Quentin Tarantino flick like PULP FICTION or THE HATEFUL EIGHT in that it follows a seemingly disparate group of people - each with their own story - who's lives intersect.
Goddard's reputation has, obviously, preceded him as on the surface this film looks like a "B" flick filled with gore and violence, but in Goddard's hands - and with some strong acting talent and VERY strong production qualities (the sets, costumes and music help tell the story), this film is elevated to something much more than a "B" flick.
Jeff Bridges (HELL AND HIGH WATER) stars (at least in one storyline) as a mysterious Priest who shows up at the El Royale for some reason - and it's not to change the Bibles in the rooms. He is joined in the lobby at check-in by a lounge singer played by Cynthia Ervino (WIDOWS), vacuum cleaner salesman portrayed by John Hamm (BABY DRIVER) and by a mystery women played by Dakota Johnson (50 SHADES...) - all have secrets to hide and through flashbacks and chance encounters, their stories erupt on each other. And erupt they do when into the mix comes charismatic, mostly shirtless Cult Leader Billy Lee (Chris Hemsworth) and his cult followers.
Goddard orchestrates this group of strong actors well, giving each character/actor moments to shine and play off each other. The dialogue, while not at a Tarantino level, was interesting and intriguing as much as what was NOT said then what WAS said.
But, make no mistake about it, this is an action movie - and action there is. Bodies, bullets and blood start flying as soon as these characters collide at the El Royale and bad times happen, for sure.
But, for me, this was a GOOD TIME AT THE EL ROYALE. If you like Pulp Fiction, Baby Driver, Hell and High Water or John Wick, then you'll like this flick. Check in to the El Royale, you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank (ofMarquis)
Chris Sawin (602 KP) rated Once Upon a Time in Hollywood (2019) in Movies
Jul 26, 2019
Leonardo DiCaprio (1 more)
Brad Pitt
It's 2 hours and 41 minutes and feels long. (2 more)
Story elements don't seem to go together.
Charles Manson stuff feels forced.
With Once Upon a Time…in Hollywood being his ninth feature film as writer and director and a career just shy of the three decade mark, you should probably know what to expect from a Quentin Tarantino film. Amongst all of the usual Tarantino trademarks of memorable performances, long strings of dialogue, a questionable amount of dancing, the inclusion of several shots of barefoot women, interior car sequences, and a relentless tidal wave of vulgarity that drowns the audience in a sea of sharp expletives, Once Upon a Time...in Hollywood lacks the one element that truly makes a Tarantino film worthwhile; coherent storytelling.
Once Upon a Time…in Hollywood should be great based on its cast alone. Leonardo DiCaprio delivers one of his more complex performances as television star turned infrequent movie star Rick Dalton. Dalton made a name for himself in a western TV series called Bounty Law. Rick burned that bridge when he tried to make the jump to movies and failed. Now he only seems to get work as the TV villain. Rick gets an opportunity in Rome to star in Italian spaghetti westerns and reluctantly accepts. Rick is an alcoholic that struggles with a stutter when he speaks. He has low self-esteem and questions every decision he makes. The scene where he flubs his lines followed by his angry outburst in his trailer is extraordinary. He’s also the one person on the planet who seems to hate hippies more than Eric Cartman.
Brad Pitt portrays Rick’s stunt double Cliff Booth. Cliff is a Vietnam War veteran who may or may not have (but probably did) kill his wife without any repercussions. Cliff hardly works as a stunt double anymore and mostly makes his living driving Rick around and doing various odd jobs for him. Cliff is the exact opposite of Rick. Rick lives in the Hollywood Hills in a roomy luxurious house with a pool and an extravagant view. Cliff lives in a trailer by a drive-in theater, eats macaroni and cheese for dinner, and has amazing chemistry with his pitbull Brandy. Cliff seems like a handy and capable guy, but he’s also extremely blunt. His to-the-point demeanor keeps Rick’s wilder antics in check the majority of the time. Cliff doesn’t exactly babysit Rick and allows him to live his own life, but he’s the one to give Rick the “you’re better than that,” kind of pep talk after it’s over.
One of the things mentioned in the film by Kurt Russell (he plays Randy and does the voiceover as the narrator) is that Rick and Cliff share this bond that is practically as deep as a brotherhood yet lacks the commitment of a marriage. Their bond is the backbone of the film and it’s interesting because they both seem like half decent people. Cliff may have killed someone and Rick beats himself up harder than anyone else could, but they’re both hard working individuals who put everything into their work and they have each other’s backs through thick and thin. Their bond is almost wholesome to the minuscule extent Tarantino will allow.
Brad Pitt’s chemistry with Brandy is also quite entertaining. There’s something comical about seeing Cliff rummage through his pantry filled with nothing but cans of dog food only to pull out two specific cans; one rat flavored and one raccoon flavored. He opens the cans with a manual can opener, tips them over in mid-air after removing their lids, and lets gravity guide that slop into whatever is designated as a food bowl that particular evening in a sickening PLOP! And a meaty splash that overflows onto the kitchen floor tiles. Cliff and Brandy seem almost as close as Cliff and Rick. They have this partnership that is easy to detect as soon as they’re on-screen together.
Mike Moh’s Bruce Lee impression isn’t totally flawless, but it is fairly excellent regardless. Moh is Korean and Bruce Lee was Chinese-American, so it’s an intriguing fit that works way better than you expect. The scene Moh has with Pitt as Bruce Lee and Cliff Booth have a physical encounter is an entertaining highlight of the film. The outrageous violence you’ve come to expect in a Tarantino film isn’t present in Once Upon a Time…in Hollywood until the final scene and it is a glorious display of dog biting, face pummeling, and flame throwing mayhem. If Cliff Booth hasn’t already established himself as a certified badass through the first two and a half hours, those last ten minutes certainly allow him to obtain that title with ease.
The unfortunate aspect of Once Upon a Time…in Hollywood is that everything doesn’t really come together in a satisfying way. You’ve got a washed up actor trying to regain the spotlight, a stunt double struggling to find work and make a living despite his troublesome reputation, and the Charles Manson stuff with Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie) living next door to Rick and Cliff’s time at the Spahn Movie Ranch with the Manson Family. In 1968, Tate and four others were murdered in the home she shared with Polanski by members of the Manson Family while being eight-and-a-half months pregnant. It’s a horrendous statistic that puts a different perspective on the ending if you didn’t know beforehand. The Manson inclusion mostly feels like an afterthought that isn’t ever taken seriously.
So many recognizable names are a part of the cast and everyone outside of Brad Pitt and Leonardo DiCaprio are basically a waste. Margot Robbie has a few moments that mostly reside in her reacting to films starring Sharon Tate in a movie theater. Tate seems to represent this pure and positive light in the film while Rick and Cliff experience the uglier aspects of the Tarantino-skewed late 1960s. Robbie downright glows during that movie theater sequence with a bubbly and contagious attitude, but doesn’t do much else over the course of the film.
Once Upon a Time…in Hollywood feels longer than its 141-minute duration. It drags so often in between its enjoyable moments and seems to purposely lag during every dialogue heavy sequence that is just talking without any sort of payoff. Tarantino’s attention to the music of whatever era he’s depicting has always been a staple in his films, but it is on the verge of annoyance here. The dancing in the film feels like an excuse to stretch out the story that much longer for no other reason other than to blatantly rub the audience’s nose in the time period.
There are some masterful elements to Once Upon a Time…in Hollywood that shouldn’t be overlooked. Leonardo DiCaprio’s Rick F’ing Dalton sequence is explosively brilliant and Brad Pitt has this abrasive charm as Cliff Booth. It’s difficult to make the argument that Quentin Tarantino has original stories still worth telling at this point in his career though since this suffers from incoherent progression and a reasonable purpose for why we should care about these characters. At one point in the film, Rick tells Cliff with tears streaming down his face and this unhealthy cough full of cancerous phlegm, “It’s official old buddy. I’m a has-been.” Maybe this is how Tarantino feels about himself now that he’s nearing the end of his filmmaking career. That struggle to find meaning and a welcome audience for something he used to care deeply about but may have lost the passion for in recent years. He had a good run, but as it stands Once Upon a Time…in Hollywood is overstuffed yet bland despite its two zesty leads.
Once Upon a Time…in Hollywood should be great based on its cast alone. Leonardo DiCaprio delivers one of his more complex performances as television star turned infrequent movie star Rick Dalton. Dalton made a name for himself in a western TV series called Bounty Law. Rick burned that bridge when he tried to make the jump to movies and failed. Now he only seems to get work as the TV villain. Rick gets an opportunity in Rome to star in Italian spaghetti westerns and reluctantly accepts. Rick is an alcoholic that struggles with a stutter when he speaks. He has low self-esteem and questions every decision he makes. The scene where he flubs his lines followed by his angry outburst in his trailer is extraordinary. He’s also the one person on the planet who seems to hate hippies more than Eric Cartman.
Brad Pitt portrays Rick’s stunt double Cliff Booth. Cliff is a Vietnam War veteran who may or may not have (but probably did) kill his wife without any repercussions. Cliff hardly works as a stunt double anymore and mostly makes his living driving Rick around and doing various odd jobs for him. Cliff is the exact opposite of Rick. Rick lives in the Hollywood Hills in a roomy luxurious house with a pool and an extravagant view. Cliff lives in a trailer by a drive-in theater, eats macaroni and cheese for dinner, and has amazing chemistry with his pitbull Brandy. Cliff seems like a handy and capable guy, but he’s also extremely blunt. His to-the-point demeanor keeps Rick’s wilder antics in check the majority of the time. Cliff doesn’t exactly babysit Rick and allows him to live his own life, but he’s the one to give Rick the “you’re better than that,” kind of pep talk after it’s over.
One of the things mentioned in the film by Kurt Russell (he plays Randy and does the voiceover as the narrator) is that Rick and Cliff share this bond that is practically as deep as a brotherhood yet lacks the commitment of a marriage. Their bond is the backbone of the film and it’s interesting because they both seem like half decent people. Cliff may have killed someone and Rick beats himself up harder than anyone else could, but they’re both hard working individuals who put everything into their work and they have each other’s backs through thick and thin. Their bond is almost wholesome to the minuscule extent Tarantino will allow.
Brad Pitt’s chemistry with Brandy is also quite entertaining. There’s something comical about seeing Cliff rummage through his pantry filled with nothing but cans of dog food only to pull out two specific cans; one rat flavored and one raccoon flavored. He opens the cans with a manual can opener, tips them over in mid-air after removing their lids, and lets gravity guide that slop into whatever is designated as a food bowl that particular evening in a sickening PLOP! And a meaty splash that overflows onto the kitchen floor tiles. Cliff and Brandy seem almost as close as Cliff and Rick. They have this partnership that is easy to detect as soon as they’re on-screen together.
Mike Moh’s Bruce Lee impression isn’t totally flawless, but it is fairly excellent regardless. Moh is Korean and Bruce Lee was Chinese-American, so it’s an intriguing fit that works way better than you expect. The scene Moh has with Pitt as Bruce Lee and Cliff Booth have a physical encounter is an entertaining highlight of the film. The outrageous violence you’ve come to expect in a Tarantino film isn’t present in Once Upon a Time…in Hollywood until the final scene and it is a glorious display of dog biting, face pummeling, and flame throwing mayhem. If Cliff Booth hasn’t already established himself as a certified badass through the first two and a half hours, those last ten minutes certainly allow him to obtain that title with ease.
The unfortunate aspect of Once Upon a Time…in Hollywood is that everything doesn’t really come together in a satisfying way. You’ve got a washed up actor trying to regain the spotlight, a stunt double struggling to find work and make a living despite his troublesome reputation, and the Charles Manson stuff with Roman Polanski (Rafal Zawierucha) and Sharon Tate (Margot Robbie) living next door to Rick and Cliff’s time at the Spahn Movie Ranch with the Manson Family. In 1968, Tate and four others were murdered in the home she shared with Polanski by members of the Manson Family while being eight-and-a-half months pregnant. It’s a horrendous statistic that puts a different perspective on the ending if you didn’t know beforehand. The Manson inclusion mostly feels like an afterthought that isn’t ever taken seriously.
So many recognizable names are a part of the cast and everyone outside of Brad Pitt and Leonardo DiCaprio are basically a waste. Margot Robbie has a few moments that mostly reside in her reacting to films starring Sharon Tate in a movie theater. Tate seems to represent this pure and positive light in the film while Rick and Cliff experience the uglier aspects of the Tarantino-skewed late 1960s. Robbie downright glows during that movie theater sequence with a bubbly and contagious attitude, but doesn’t do much else over the course of the film.
Once Upon a Time…in Hollywood feels longer than its 141-minute duration. It drags so often in between its enjoyable moments and seems to purposely lag during every dialogue heavy sequence that is just talking without any sort of payoff. Tarantino’s attention to the music of whatever era he’s depicting has always been a staple in his films, but it is on the verge of annoyance here. The dancing in the film feels like an excuse to stretch out the story that much longer for no other reason other than to blatantly rub the audience’s nose in the time period.
There are some masterful elements to Once Upon a Time…in Hollywood that shouldn’t be overlooked. Leonardo DiCaprio’s Rick F’ing Dalton sequence is explosively brilliant and Brad Pitt has this abrasive charm as Cliff Booth. It’s difficult to make the argument that Quentin Tarantino has original stories still worth telling at this point in his career though since this suffers from incoherent progression and a reasonable purpose for why we should care about these characters. At one point in the film, Rick tells Cliff with tears streaming down his face and this unhealthy cough full of cancerous phlegm, “It’s official old buddy. I’m a has-been.” Maybe this is how Tarantino feels about himself now that he’s nearing the end of his filmmaking career. That struggle to find meaning and a welcome audience for something he used to care deeply about but may have lost the passion for in recent years. He had a good run, but as it stands Once Upon a Time…in Hollywood is overstuffed yet bland despite its two zesty leads.
House Rules
Book
Set in the familiar setting of a pub, House Rules follows the story of three unlikely heroes who...
101 Gangster Movies: You Must See Before You Die
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From the early Prohibition-era classics of Mervyn LeRoy and William A. Wellman to the mean streets...
BankofMarquis (1832 KP) rated Alita: Battle Angel (2019) in Movies
Feb 20, 2019
Good visuals, not much else to recommend it
A few of my loyal readers recommended that I check out ALITA: BATTLE ANGEL in the biggest screen I could find, and in 3D. And...I'm glad I did for this film is a visual feast for the eyes, filled with eye-popping CGI and an interesting futuristic world on which the events of the film take place.
Unfortunately...that is all that there is to this film, for the rest of the movie does not live up to the fantastical elements laid forth visually.
Adapted to the screen from filmmakers James Cameron and Robert Rodriguez, ALITA: BATTLE ANGEL is a combination of the first 4 of Yukito Kishiro's series of 9 manga books, and (hopefully) the first in a trilogy of films that follows a robot, Alita, who is put back together by the mysterious Dr. Ido. When she awakens, she does not know what her past was, but as events transpire, it soon becomes apparent that Alita is much more than the sweet, young girl robot that her outward appearance would suggest.
Rosa Salazar is winning enough as the completely CGI creation of Alita, but no so charismatic that she can carry the film on her own, she will need help - and that's where this film falls down. Christoph Waltz is mediocre in the underwritten part of Dr. Ido. Instead of being interesting and mysterious, he is bland and boring. I'm beginning to think that Waltz needs the words of Quentin Tarantino to shine (because he does shine in Tarantino films) but is just so-so when speaking someone else's lines. Jennifer Connelly is wasted as Ido's ex-wife, somehow connected to the power elite of the Universe and Marashala Ali (who will soon win his 2nd Oscar) is completely shutdown and "one-note" as the big bad guy. Ed Skrein, Jackie Earle Haley (completely unrecognizable in voice or character as the CGI bad guy Grewishka) and Keean Johnson are all very forgettable as others in this world. Only Jeff Fahey (as a robot-Cowboy bounty hunter) is able to jump off the screen with what is the beginnings of an interesting character.
The battles, races, action and plot twists and turns are all "standard issue", pretty predictable and unsurprising. It is clear that Cameron and Rodriguez were so focused on the CGI and world building that they did not spend enough time on the plot, dialogue or pacing. And that's too bad, for besides the impressive visuals and graphics (and they are impressive), there is not much else to recommend from this film.
Letter Grade: B- (for the visuals)
6 (out of 10) stars and you can take that to the Bank(ofMarquis)
Unfortunately...that is all that there is to this film, for the rest of the movie does not live up to the fantastical elements laid forth visually.
Adapted to the screen from filmmakers James Cameron and Robert Rodriguez, ALITA: BATTLE ANGEL is a combination of the first 4 of Yukito Kishiro's series of 9 manga books, and (hopefully) the first in a trilogy of films that follows a robot, Alita, who is put back together by the mysterious Dr. Ido. When she awakens, she does not know what her past was, but as events transpire, it soon becomes apparent that Alita is much more than the sweet, young girl robot that her outward appearance would suggest.
Rosa Salazar is winning enough as the completely CGI creation of Alita, but no so charismatic that she can carry the film on her own, she will need help - and that's where this film falls down. Christoph Waltz is mediocre in the underwritten part of Dr. Ido. Instead of being interesting and mysterious, he is bland and boring. I'm beginning to think that Waltz needs the words of Quentin Tarantino to shine (because he does shine in Tarantino films) but is just so-so when speaking someone else's lines. Jennifer Connelly is wasted as Ido's ex-wife, somehow connected to the power elite of the Universe and Marashala Ali (who will soon win his 2nd Oscar) is completely shutdown and "one-note" as the big bad guy. Ed Skrein, Jackie Earle Haley (completely unrecognizable in voice or character as the CGI bad guy Grewishka) and Keean Johnson are all very forgettable as others in this world. Only Jeff Fahey (as a robot-Cowboy bounty hunter) is able to jump off the screen with what is the beginnings of an interesting character.
The battles, races, action and plot twists and turns are all "standard issue", pretty predictable and unsurprising. It is clear that Cameron and Rodriguez were so focused on the CGI and world building that they did not spend enough time on the plot, dialogue or pacing. And that's too bad, for besides the impressive visuals and graphics (and they are impressive), there is not much else to recommend from this film.
Letter Grade: B- (for the visuals)
6 (out of 10) stars and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Sisu (2023) in Movies
Dec 4, 2023
Pretty Darned Entertaining
The BankofMarquis stumbled across a Finnish action flick that makes Quentin Tarantino Movies - and the John Wick films - look like Disney movies.
SISU tells the story of the waning days of WWII in Finland where a lone man has left the death and destruction of war behind to live a life of solitude. Into his world come some retreating NAZI’s who (to their detriment, they will soon find out) decide to NOT leave this lone man alone.
Chaos (and violence) ensues.
A variation of the “Man with No Name” type of action film that pits this lone person who just wants to be left alone against a group of thugs, SISU (a Finnish word that has no direct translation but roughly translates to “persevering against tremendous odds”) generates a fun action/revenge flick that is extremely violent…and extremely implausible (but that’s part of the fun).
While this is a Finnish film, all of the actors/characters speak English (except when the Nazi’s speak German), so there is no translating needed.
Jorma Tommila (a veteran Finnish actor that has no U.S. credits that I could find) is stoic, rugged and damned determined as the nameless loner (he gets named about half-way through the film) that perseveres and this is the best part of his performance. His sparkling blue eyes constantly seem active and alive even though the rest of his face is stoic and his body is bruised, bloodied, beaten and mud-covered. His internal resolve shines through in his eyes and really holds the film together well.
Aksel Hennie (who you might know as Alex Vogel one of the Astronauts that is in the ship that turns back to get Matt Damon aka THE MARTIAN) as the Head Nazi is quite good and just as determined to use his men as fodder in his vendetta against the nameless man while Jack Doolan (Horse Tommy in THE BOYS) is ruthless as his main henchman and Mimosa Willamo (the Finnish TV series DEADWIND) is strong and determined as a prisoner held by the Nazis.
Director Jalmari Helander (again, no U.S. credits that I can find) does a wonderful job of keeping the action moving and the choreography of the piece simple (you know where everyone is at all times, so when something comes out of nowhere, you have a pretty good idea as to who/what it is). He does ratchet the violence up to a Tarantino-John Wick- The Equalizer level, so if you are squeamish, this film is not for you.
But, if you are into action films, then…hoo-boy….is SISU a film for you!
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
SISU tells the story of the waning days of WWII in Finland where a lone man has left the death and destruction of war behind to live a life of solitude. Into his world come some retreating NAZI’s who (to their detriment, they will soon find out) decide to NOT leave this lone man alone.
Chaos (and violence) ensues.
A variation of the “Man with No Name” type of action film that pits this lone person who just wants to be left alone against a group of thugs, SISU (a Finnish word that has no direct translation but roughly translates to “persevering against tremendous odds”) generates a fun action/revenge flick that is extremely violent…and extremely implausible (but that’s part of the fun).
While this is a Finnish film, all of the actors/characters speak English (except when the Nazi’s speak German), so there is no translating needed.
Jorma Tommila (a veteran Finnish actor that has no U.S. credits that I could find) is stoic, rugged and damned determined as the nameless loner (he gets named about half-way through the film) that perseveres and this is the best part of his performance. His sparkling blue eyes constantly seem active and alive even though the rest of his face is stoic and his body is bruised, bloodied, beaten and mud-covered. His internal resolve shines through in his eyes and really holds the film together well.
Aksel Hennie (who you might know as Alex Vogel one of the Astronauts that is in the ship that turns back to get Matt Damon aka THE MARTIAN) as the Head Nazi is quite good and just as determined to use his men as fodder in his vendetta against the nameless man while Jack Doolan (Horse Tommy in THE BOYS) is ruthless as his main henchman and Mimosa Willamo (the Finnish TV series DEADWIND) is strong and determined as a prisoner held by the Nazis.
Director Jalmari Helander (again, no U.S. credits that I can find) does a wonderful job of keeping the action moving and the choreography of the piece simple (you know where everyone is at all times, so when something comes out of nowhere, you have a pretty good idea as to who/what it is). He does ratchet the violence up to a Tarantino-John Wick- The Equalizer level, so if you are squeamish, this film is not for you.
But, if you are into action films, then…hoo-boy….is SISU a film for you!
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (965 KP) rated Inglourious Basterds (2009) in Movies
Aug 9, 2019
Should we be allowed to laugh at brutality? Is there room for comedy in a film about the Second World War? These are just some of the questions Quentin Tarantino’s latest film “Inglorious Bastards” is sure to bring to mind.
“Inglorious Bastards” is composed of two intertwined stories broken into chapters combining fictitious and factual historic events. The two stories, the tragic tale of orphaned Jewish girl Shosanna (Mélanie Laurent) and that of an oddly funny group of American soldiers, called “the Bastards”, create introspections into the meaning of glory, destruction, and propaganda.
Familiar faces are scattered throughout the film from creator of “the Office” B.J. Norvak to “Austin Powers“ star Mike Myers. The standout performance of Lieutenant Aldo Raine, played by the always-evolving Brad Pitt, is both comical and clever and the role of Nazi Colonel Hans Landa, Christoph Waltz, is so evil that, within the scope of the film, he some how manages to overshadow Hitler.
While the film is visually graphic, it is the ideas of violence rather than explicit visuals that litter the film. These violent scenes, from scalping to strangulation, are more dramatic than visually accurate.
The film did drag in parts such, as the dark Cinderella-like bar scene, and there was definitely room for further character development for “the Bastards”, yet the sly structure of the film shatters these minor faults but keeping viewers completely invested in the plotline.
“Inglorious Bastards” mixes classic film elements with techniques hauntingly David Lynch in style. From elements of television westerns to the hauntingly familiar sound of David Bowie, Tarintino has created a new way of looking at the past, all while using a time generally perceived as too awful to mention as a background for laughter.
Twisted, tortured, glorious and not “Inglorious Bastards” delivers as a film bound to become classic Tarantino. Fans will be elated and those who oppose the film’s adult themes will not walk away without at least thinking about the meaning of this one-of-kind feature.
“Inglorious Bastards” is composed of two intertwined stories broken into chapters combining fictitious and factual historic events. The two stories, the tragic tale of orphaned Jewish girl Shosanna (Mélanie Laurent) and that of an oddly funny group of American soldiers, called “the Bastards”, create introspections into the meaning of glory, destruction, and propaganda.
Familiar faces are scattered throughout the film from creator of “the Office” B.J. Norvak to “Austin Powers“ star Mike Myers. The standout performance of Lieutenant Aldo Raine, played by the always-evolving Brad Pitt, is both comical and clever and the role of Nazi Colonel Hans Landa, Christoph Waltz, is so evil that, within the scope of the film, he some how manages to overshadow Hitler.
While the film is visually graphic, it is the ideas of violence rather than explicit visuals that litter the film. These violent scenes, from scalping to strangulation, are more dramatic than visually accurate.
The film did drag in parts such, as the dark Cinderella-like bar scene, and there was definitely room for further character development for “the Bastards”, yet the sly structure of the film shatters these minor faults but keeping viewers completely invested in the plotline.
“Inglorious Bastards” mixes classic film elements with techniques hauntingly David Lynch in style. From elements of television westerns to the hauntingly familiar sound of David Bowie, Tarintino has created a new way of looking at the past, all while using a time generally perceived as too awful to mention as a background for laughter.
Twisted, tortured, glorious and not “Inglorious Bastards” delivers as a film bound to become classic Tarantino. Fans will be elated and those who oppose the film’s adult themes will not walk away without at least thinking about the meaning of this one-of-kind feature.