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Amazon.co.uk Review
Although Quentin Tarantino has cherished Enzo G. Castellari's 1978 "macaroni" war flick The Inglorious Bastards for most of his film-geek life, his own Inglourious Basterds is no remake. Instead, as hinted by the Tarantino-esque misspelling, this is a lunatic fantasia of WWII, a brazen re-imagining of both history and the behind-enemy-lines war film subgenre. There's a Dirty Not-Quite-Dozen of mostly Jewish commandos, led by a Tennessee good ol' boy named Aldo Raine (Brad Pitt) who reckons each warrior owes him one hundred Nazi scalps--and he means that literally. Even as Raine's band strikes terror into the Nazi occupiers of France, a diabolically smart and self-assured German officer named Landa (Christoph Waltz) is busy validating his own legend as "The Jew Hunter." Along the way, he wipes out the rural family of a grave young girl (Melanie Laurent) who will reappear years later in Paris, dreaming of vengeance on an epic scale.
Now, this isn't one more big-screen comic book. As the masterly opening sequence reaffirms, Tarantino is a true filmmaker, with a deep respect for the integrity of screen space and the tension that can accumulate in contemplating two men seated at a table having a polite conversation. IB reunites QT with cinematographer Robert Richardson (who shot Kill Bill), and the colors and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. The action has been divided, Pulp Fiction-like, into five chapters, each featuring at least one spellbinding set-piece. It's testimony to the integrity we mentioned that Tarantino can lock in the ferocious suspense of a scene for minutes on end, then explode the situation almost faster than the eye and ear can register, and then take the rest of the sequence to a new, wholly unanticipated level within seconds.
Again, be warned: This is not your "Greatest Generation," Saving Private Ryan WWII. The sadism of Raine and his boys can be as unsavory as the Nazi variety; Tarantino's latest cinematic protégé, Eli (director of Hostel) Roth, is aptly cast as a self-styled "golem" fond of pulping Nazis with a baseball bat. But get past that, and the sometimes disconcerting shifts to another location and another set of characters, and the movie should gather you up like a growing floodtide. Tarantino told the Cannes Film Festival audience that he wanted to show "Adolf Hitler defeated by cinema." Cinema wins. --Richard T. Jameson
DVD Description
Extras:
Lunch with Goebbels – Extended Version (7 mins)
La Louisiane Card Game – Extended Version (2 mins)
Nation’s Pride Begins – Alternate Version (2 mins)
Nation’s Pride – Full Feature (6 mins)
Roundtable Discussion with Quentin Tarantino, Brad Pitt and Elvis Mitchell (31 mins) [HD]
The Making of Nation’s Pride (4 mins) [HD]
The Original Inglorious Bastards (8 mins)
A Conversation with Rod Taylor (7 mins) [HD]
Rod Taylor on Victoria Bitters (3 mins) [HD]
Quentin Tarantino’s Camera Angel (3 mins)
Hi Sallys (2 mins)
Film Poster Gallery Tour with Elvis Mitchell (11 mins)
Inglourious Basterds Poster Gallery (20+ stills)
Trailers
Teaser (1:43) [HD]
Domestic Trailer (2:21) [HD]
International Trailer (2:07) [HD]
Japanese Trailer (1:15) [HD]
Limited Edition Content:
Inglourious Basterds Limited Edition Blu-ray comes in a collectable special finish slipcase and includes:
Inpack 4 Stoltz Der Nation poster images
3 Bridget Von Hammersmack Film Poster images
Replica image of the Japanese Teaser Poster
Exclusive James Goodridge key art print
Momma Landa's Old Fashion Austrian Strudel Recipe.
Lunch with Goebbels – Extended Version (7 mins)
La Louisiane Card Game – Extended Version (2 mins)
Nation’s Pride Begins – Alternate Version (2 mins)
Nation’s Pride – Full Feature (6 mins)
Roundtable Discussion with Quentin Tarantino, Brad Pitt and Elvis Mitchell (31 mins) [HD]
The Making of Nation’s Pride (4 mins) [HD]
The Original Inglorious Bastards (8 mins)
A Conversation with Rod Taylor (7 mins) [HD]
Rod Taylor on Victoria Bitters (3 mins) [HD]
Quentin Tarantino’s Camera Angel (3 mins)
Hi Sallys (2 mins)
Film Poster Gallery Tour with Elvis Mitchell (11 mins)
Inglourious Basterds Poster Gallery (20+ stills)
Trailers
Teaser (1:43) [HD]
Domestic Trailer (2:21) [HD]
International Trailer (2:07) [HD]
Japanese Trailer (1:15) [HD]
Limited Edition Content:
Inglourious Basterds Limited Edition Blu-ray comes in a collectable special finish slipcase and includes:
Inpack 4 Stoltz Der Nation poster images
3 Bridget Von Hammersmack Film Poster images
Replica image of the Japanese Teaser Poster
Exclusive James Goodridge key art print
Momma Landa's Old Fashion Austrian Strudel Recipe.
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Customer Reviews
Most Helpful Customer Reviews
41 of 50 people found the following review helpful
Format:DVD
Where do you start with this peculiar film?
It is a mess but it includes some magnificent moments of sheer virtuousity. The acting is generally highly accomplished with the exception of Brad Pitt who appears painfully constipated throughout. His part requires minimal effort and it seems that that was all Pitt was prepared to make. Having said that it may be Tarantino's directing to blame for Pitt's wooden approach.
On the other hand Christoph Waltz is simply incredible. His performance is a tour de force with a skilfully delivered balance achieved between palpable menace and grotesque comedy. Waltz is a significant find; a towering talent whose skills in this film deserve recognition with an Oscar. It is worth watching just for his performance alone. The opening scene is deftly done and appears to promise an intelligent adult film that Hollywood did so well in the late sixties and early seventies but the film from there onward fluctuates between farce and magnificence.
There is an excellently choreographed set-piece in a Parisian cellar bar that is reminiscent of the best of Sergio Leone and much of the film is a homage to the classic Spaghetti Westerns of the sixties as well as Sam Pekinpah. Even the musical score brings to mind those great Westerns. However, too much of the film is downright infantile and ridiculous with little sense of direction.
Worth watching once but only once. Borrow.
It is a mess but it includes some magnificent moments of sheer virtuousity. The acting is generally highly accomplished with the exception of Brad Pitt who appears painfully constipated throughout. His part requires minimal effort and it seems that that was all Pitt was prepared to make. Having said that it may be Tarantino's directing to blame for Pitt's wooden approach.
On the other hand Christoph Waltz is simply incredible. His performance is a tour de force with a skilfully delivered balance achieved between palpable menace and grotesque comedy. Waltz is a significant find; a towering talent whose skills in this film deserve recognition with an Oscar. It is worth watching just for his performance alone. The opening scene is deftly done and appears to promise an intelligent adult film that Hollywood did so well in the late sixties and early seventies but the film from there onward fluctuates between farce and magnificence.
There is an excellently choreographed set-piece in a Parisian cellar bar that is reminiscent of the best of Sergio Leone and much of the film is a homage to the classic Spaghetti Westerns of the sixties as well as Sam Pekinpah. Even the musical score brings to mind those great Westerns. However, too much of the film is downright infantile and ridiculous with little sense of direction.
Worth watching once but only once. Borrow.
20 of 25 people found the following review helpful
Format:Blu-ray
`Inglourious Basterds' is a typical Tarantino film and if you are a fan of his films then this will right up your street. This is set in WW2 and follows a group of American commandos who are behind enemy lines and who terrorize nazi soldiers to lower morale. It also features a Jewish cinema owner who plans to enact her own form of revenge; both stories weave their way separately through the film and join up at the end. This is shot in a series of vignettes (very much in the pulp fiction style) and each little episode provides an extra element to the overall story. Some of the dialogue and behaviour of the Basterds will make you laugh, that is until the retribution begins and then you get the usual Tarantino ultra violence that will make you wince as you watch. The Basterds behaviour is as deplorable as the nazis at times, but their delivery and flair raise a wry smile throughout. There is an excellent cast, with many decent actors playing small roles as well as main characters and whilst the direction is stylised it is easily as good as previous films by Tarantino. The ending is ludicrous but is shot with tongue firmly in cheek and although complete fantasy, it is the ending you would want to make this a satisfying film experience. It's not real, but it is good cinema. This was better than I expected and is worth a watch at some point, just note that it is an 18 certificate for a reason.
Feel free to check out my blog which can be found on my profile page.
Feel free to check out my blog which can be found on my profile page.
10 of 13 people found the following review helpful
Format:DVD
A loose thread which has run through most of Tarantino's films is the idea that anyone who puts on a mask, or a disguise, or a costume, or just pretends to be someone else... is doomed. The Reservoir Dogs couldn't spot the traitor in their midst because they'd obliterated their own identities, and The Bride's attempt to be Mrs. Tommy Plimpton ended in disaster. With Inglourious Basterds, Tarantino has finally delivered a definitive exploration of this theme. The more horrible it gets, the more wonderful it gets - and it gets pretty damn horrible.
The plot: Aldo Raine is off to Nazi-occupied France to make a Western. He's cast a dozen angry Jewish soldiers as Apache indians, and the entire Wehrmacht as marauding cowboys. And in the best war movie tradition, he's keeping absolute demarkation between the goodies and the baddies. Trouble is, not everyone on Aldo's own side can play their own parts perfectly either. Phoney German and Italian accents might fool the home audience, but won't get past astute critics like Gestapo Major Dieter Hellstrom and SS Colonel Hans Landa. By the time Aldo Raine and Josef Goebbels have finished making their respective propaganda fantasies, war has become so theatrical, and cinema so violent, that there's no distinction between a combat ambush and a movie premiere.
Some reviewers condemned this movie on moral grounds, namely that it transforms Jews into mass-murderers and Nazis into victims - which it does, but you're not meant to like that transformation; you're meant to be horrified. Inglourious Basterds has very little concern for historical reality, but plenty to say about the art that portrays it. It's the type of masterwork which I can only call "thematically saturated" - everything reflects the theme in some way; there's barely a single gesture which is superfluous or gratuitous. The attention to detail is meticulous. Tarantino really takes his time ratcheting up suspense over very polite, genteel conversations, giving much greater impact to the intermittent bursts of extremely bloody violence.
This is postmodern filmmaking at its very best - composed entirely from loving recreations of the worst glorifying excesses of gung-ho war movies, but knitting them all into a macabre ironic comedy of art, violence, masquerade, and collapsing identity.
The plot: Aldo Raine is off to Nazi-occupied France to make a Western. He's cast a dozen angry Jewish soldiers as Apache indians, and the entire Wehrmacht as marauding cowboys. And in the best war movie tradition, he's keeping absolute demarkation between the goodies and the baddies. Trouble is, not everyone on Aldo's own side can play their own parts perfectly either. Phoney German and Italian accents might fool the home audience, but won't get past astute critics like Gestapo Major Dieter Hellstrom and SS Colonel Hans Landa. By the time Aldo Raine and Josef Goebbels have finished making their respective propaganda fantasies, war has become so theatrical, and cinema so violent, that there's no distinction between a combat ambush and a movie premiere.
Some reviewers condemned this movie on moral grounds, namely that it transforms Jews into mass-murderers and Nazis into victims - which it does, but you're not meant to like that transformation; you're meant to be horrified. Inglourious Basterds has very little concern for historical reality, but plenty to say about the art that portrays it. It's the type of masterwork which I can only call "thematically saturated" - everything reflects the theme in some way; there's barely a single gesture which is superfluous or gratuitous. The attention to detail is meticulous. Tarantino really takes his time ratcheting up suspense over very polite, genteel conversations, giving much greater impact to the intermittent bursts of extremely bloody violence.
This is postmodern filmmaking at its very best - composed entirely from loving recreations of the worst glorifying excesses of gung-ho war movies, but knitting them all into a macabre ironic comedy of art, violence, masquerade, and collapsing identity.
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Most Recent Customer Reviews
very well written and casted.
this film is surpassed my expectations, i did not think a fictional story line which directly involved hitler, would ever wow my in a film, however this film did just that. Read more
Published 1 month ago by Harry Heslop
"..CLASSIC TARANTINO.."
This was an awesome film, 2 and a half hours of pure 100% tarantino GOLD. lots and lots of awesome dialogue and nasty bloody nazi killing. Read more
Published 1 month ago by S. Drury
Newsflash: Finally, Tarantino Directs a Great Film
Aside from writing the brilliant but hard to watch "Natural Born Killers", QT has given us largely a lot of violence and swearing with a distinct absence of story, point and... Read more
Published 1 month ago by fat man on a bicycle
Disappointing
After watching the film through, I was left feeling like there was supposed to be some sort of story that got lost in the violence. Read more
Published 1 month ago by S. Way
Tepid and unsatisfactory
So addled was I with preconceptions of woeful ineptitude and ridiculousness of such magnificent proportions, that I avoided seeing Tarantino's latest attempt at ever increasingly... Read more
Published 2 months ago by Mr. James Dickson
One of Tarantino's best films.
I always thought that Tarantino as a director was making quite violent films for my taste.
I watched Kill Bill a few years ago, and i have to admit that i loved it, despite... Read more
I watched Kill Bill a few years ago, and i have to admit that i loved it, despite... Read more
Published 2 months ago by Mariar
Overlong dialogue interspersed with sadistic action
I was disappointed with this movie.
Basially I found that the dialogue went on for far too long. Read more
Basially I found that the dialogue went on for far too long. Read more
Published 2 months ago by Moray Greig
Boring and offensive
Tarantino can be a great filmmaker when he tries. The Kill Bill films were a triumph of sheer style, and his gift for dialogue is unrivalled by most Hollywood writer/directors. Read more
Published 2 months ago by Jack Heslop
Tarantino fails to grasp the war movie genre (and all its subgenres)...
THE STORY:
During WWII, the Basterds of the title are a commando group dedicated to bringing death and bloody ruin to the Nazis in Europe. Read more
During WWII, the Basterds of the title are a commando group dedicated to bringing death and bloody ruin to the Nazis in Europe. Read more
Published 2 months ago by Ian Tapley
putting out fires with gasoline
I loved this movie quentine tarantino knows how to make a good film. I always in my own head aliken him to woody allen, in the way he films are his, no one elses, he has his own... Read more
Published 2 months ago by Rob.D
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