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gravity clock

Lifestyle and Utilities

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Watching the time pass has never been so beautiful! Gravity Clock visualizes the passage of time by...

Doctor Who: The Crawling Terror (12th Doctor Novel)

Mike Tucker

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"Well, I doubt you'll ever see a bigger insect." Gabby Nichols is putting her son to bed when she...

We Met in December

Rosie Curtis

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What if you couldn’t get away from the one who got away? This December, unlucky-in-love Jess is...

The Baby Is Mine

Oyinkan Braithwaite

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When his girlfriend throws him out during the pandemic, Bambi has to go to his Uncle's house in...

Gareth von Kallenbach (980 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.