Battersea Power Station
Member
I'll also buy it on a digital video disk, probably of the Blu-Ray variety.
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Django Unchained | Hype Thread | QT Goes Western
- Thread starter Expendable.
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Spring-Loaded
Member
Oh, OK. I haven't seen BE and have been meaning to; that Omar White was the first I thought of
Just saw it, what an awesome movie. I haven't been a fan of Foxx's work outside of Collateral, but he definitely owned the role. Much more surprising, I actually enjoyed DiCaprio for the first time since Catch Me if You Can.
Not sure if I like it more than Basterds as far as Tarantino's filmography, but it's certainly close. But bless you Tarantino for using practical gore effects versus digital ones.
Not sure if I like it more than Basterds as far as Tarantino's filmography, but it's certainly close. But bless you Tarantino for using practical gore effects versus digital ones.
SpacePirate Ridley
Member
Lol I was pretty sure
she was saved
Welp, seems we have to watch it again lol
Glass Rebel
Member
I've been listening to the soundtrack non-stop since watching the movie. I usually don't like Ross but the part with 100 Black Coffins was so perfect. In general, I loved how music, vocal or not, was used.
That 2pac/James Brown track put a smile on my face. It fit so well.
Karma Kramer
Banned
Has anyone seen this interview with QT on BET? http://www.youtube.com/watch?feature=player_embedded&v=7MI44SR6f-8#!
Glass Rebel
Member
The title is already making me cringe.
edit: ok, it's not THAT bad. But man, Kerry is stunning.
SCULLIBUNDO
Banned
Just got back.
It was like a Tarantino greatest hits collection. Highly enjoyable, but none of it feels particularly fresh or daring. It would for any other filmmaker, but Tarantino has simply changed the scenery on stories he's told before. Waltz is Colonel Hans Landa again - right down to the same persuasive speech patterns, but - as Waylan Smithers would say, 'He's got a new hat!' Foxx mugs for the camera like a pro. The guy can't order a drink without a side of swagger. Sam Jackson steals the show along with Leo. Rob Richardson's photography is gorgeous as always.
The biggest thing I felt missing from Django Unchained that had been present in QT's previous films (besides the much missed Sally Menke) was some sort of emotional anchor through which I could invest myself. We're given Django's motivation, but not the moments that inform that motivation. Think back to The Bride's more tender moments with Bill or when she first sees Bibi. Think back to Shoshanna's farewell with Marcel in the theatre and her luncheon with the Colonel that has us terrified. There is a distinct lack of those moments in Django - moments that don't feel forced but humanize those characters. What we get is a shade of a character - a shadow that paints the stark caricature of a hero with none of the flesh and blood to back it up. Just like it was fun to watch the girls in Death Proof take revenge on Stuntman Mike, it's fun to watch Django seek out his own vengeance. But the thrills are perfunctory and their impression lasts only as long as they're on screen.
It was like a Tarantino greatest hits collection. Highly enjoyable, but none of it feels particularly fresh or daring. It would for any other filmmaker, but Tarantino has simply changed the scenery on stories he's told before. Waltz is Colonel Hans Landa again - right down to the same persuasive speech patterns, but - as Waylan Smithers would say, 'He's got a new hat!' Foxx mugs for the camera like a pro. The guy can't order a drink without a side of swagger. Sam Jackson steals the show along with Leo. Rob Richardson's photography is gorgeous as always.
The biggest thing I felt missing from Django Unchained that had been present in QT's previous films (besides the much missed Sally Menke) was some sort of emotional anchor through which I could invest myself. We're given Django's motivation, but not the moments that inform that motivation. Think back to The Bride's more tender moments with Bill or when she first sees Bibi. Think back to Shoshanna's farewell with Marcel in the theatre and her luncheon with the Colonel that has us terrified. There is a distinct lack of those moments in Django - moments that don't feel forced but humanize those characters. What we get is a shade of a character - a shadow that paints the stark caricature of a hero with none of the flesh and blood to back it up. Just like it was fun to watch the girls in Death Proof take revenge on Stuntman Mike, it's fun to watch Django seek out his own vengeance. But the thrills are perfunctory and their impression lasts only as long as they're on screen.
PairOfFilthySocks
Member
Saw it last night. Really enjoyed it. The
scene was the funniest thing I've seen in films in a long time. My god, I almost pissed myself.
hood
fierrotlepou
Member
Quentin Tarantino always makes me come around to like certain actors. Didn't really enjoy Foxx's acting before but I enjoyed in Django. He's a bad ass during the whole movie.
Everyone saying that Samuel L. Jackson was 'phenomenal' or that this was his best part ever need to seriously have their head examined. This was not a good role at all.
Everyone saying that Samuel L. Jackson was 'phenomenal' or that this was his best part ever need to seriously have their head examined. This was not a good role at all.
I think the longest shot in the movie starts out in the kitchen with the slaves making dinner then slowly pans through the doorway, across the table and ends up on a close-up of Django.
I think you do. He was brilliant in this movie.
Tim the Wiz
Banned
Finally got to see the film. Very good. Next to IB in the middle of the pack for me, but given QT's oeuvre, that's a long-legged frontrunner group in the marathon of cinema. Not much else to say but that it begs another viewing. Or two.
Except Stephen was an exceptional role. It boggles the mind that some people don't actually know the history of the House Negro, or the basic dynamics of antebellum slave society - or indeed any system of terrorized supremacy.
I don't think I've had this much fun watching SLJ work since Jackie Brown. In that role, too, his character wore a mask to fit the occasion as he was it. And in Django, the way Stephen switches his tune to fit circumstance is brilliant, skewering, and painfully accurate. I'm glad he was the final enemy, because self-loathing will always be the hardest demon to exorcise.
Except Stephen was an exceptional role. It boggles the mind that some people don't actually know the history of the House Negro, or the basic dynamics of antebellum slave society - or indeed any system of terrorized supremacy.
I don't think I've had this much fun watching SLJ work since Jackie Brown. In that role, too, his character wore a mask to fit the occasion as he was it. And in Django, the way Stephen switches his tune to fit circumstance is brilliant, skewering, and painfully accurate. I'm glad he was the final enemy, because self-loathing will always be the hardest demon to exorcise.
Question for Tarantino fans. I've heard that every movie of his has like one character that is somehow related to another character from another one of his movies. Does anybody know if that's true? And if so could anybody tell me about the characters? If only at least in Django?
I didn't find Candie to be as much of a menacing villain as Bill or Landa once it occurred to me that, unlike those other villains, Candie wasn't a cold-blooded murderer (well, not in the same vein, at any rate). Sure, he punishes his slaves by torturing them and
had one of them ripped apart by dogs
they were trying to buy one of his slaves that just happened to be Django's wife.
The film was building it up like once Candie found out what Schultz's true intentions were for being there that some real shit was going to go down, when all Candie did was
race the her price to $12,000
Schultz killing Candie for really no damn reason other than "he couldn't resist"
Schultz just decides to kill him anyway and then Django can have a real reason to wipe out everyone.
On a side note, it also occurred to me while watching Django that Tarantino loves to have scenes where three or four characters are all pointing guns at each other and trying to work things out in a moment of tension, and then proceed to have everyone kill everyone. His take on the ol' Mexican stand-off is always entertaining (my favorite still being the Nazi bar sequence in Basterds).
Clay Davis
Member
I have to agree. his
oh sweet Jesus let me kill this n*gga
overall, it was a really good movie but as sculli said above, it felt like a greatest hits movie and it lacked a lot of the heart and characterization that I've come to expect from QT movies.
this is doubly strange as he had over 150 minutes to add some but he decided not to, maybe it interfered with what is an otherwise generally snappy and well paced movie? who knows, but it certainly felt like he could have added some quieter moments where we're given the chance to see a more humane side to the characters and start to relate to them.
still, I really enjoyed it. a good way to start what is undoubtedly going to be an amazing year for film.
Prophet Steve
Member
http://www.neogaf.com/forum/showpost.php?p=46677391&postcount=2808
This was posted a page back (or more pages back if you are one of those).
Spring-Loaded
Member
And, though it's not a Tarantino film series,
Django and Broomhilda are the ancestors of John Shaft.
Thug Waffle
Member
Why am I the only one who thinks Inglourious Basterds is Tarantino's best work?
All down to personal preference I suppose. Personally, I don't think it's his best work but it's still good. What really perplexes me is the admiration for Death Proof over Planet Terror.
Because it's rare for an American comedy to be set in WW2.
It's also multi-lingual, multi-layered and even though it has all the hallmarks of Tarantino (why do Germans only talk about America, movies and black people?), it's a very professional piece of film-making.
But you're wrong, Basterds is his second best after Jackie Brown.
Bonjourno!
Grinchy
Banned
Because you hate Nazis.
Lee Chaolan
Member
Sam's best performance in some time, IMO.
Lovde Christoph as well.
Lovde Christoph as well.
EdibleExplosives
Member
It was my favourite movie of his until I saw Django, now I'm not too sure. I haven't seen Jackie Brown or Reservoir Dogs yet though.
Robot Pants
Member
Are you crazy? Just about everyone thinks its his best movie. Because it is.
Up until Django pretty much everyone thought it was between Pulp Fiction and Inglourious Basterds. Django is such a crowdpleaser it had overtaken those two for many people.
Pulp Fiction and Inglourious Basterds are still my fav Tarantino movies (I honestly can't decide between the 2), but Django is, well, a close third. It's an incredible movie, especially the second time around, but it lacks something that puts PF and IB a tier above it. PF and IB were strokes of genius, while Django doesn't really reach that height.
Harry Potter
Banned
Finally saw it last night. I'd say the first half of the movie is nearly perfect. The scene with the raiders and the sack masks had me dying. All the actors really knocked it out of the park. I feel like Samuel L is going a little unnoticed in this.
Grinchy
Banned
I'm surprised at how little credit Kill Bill I and II get. I really can't decide on a favorite between Pulp Fiction, the Kill Bills, IG and Django. I think that ever since Pulp Fiction, QT has made one movie after another that is in its own league at the time. It's a pretty awesome streak.
Reservoir Dogs is still an awesome movie but it's arguably the least likely to be anyone's favorite.
Thanks guys!
This is what I'm talking about, I totally thought this woman was suspicious, kept thinking she was the one character.
Gozer the Gozerian
Member
I don't know what it is about Kill Bill but it just didn't do it for me the same way as some of QT's other works (still pretty good though, especially Vol. 2). I'd have rather had Django get the two volume treatment instead, but that's probably my love of westerns clouding my judgement.
Reservoir Dogs is super solid but the characters didn't leave as much of an impression on me compared to his later movies. I'd say Basterds and Pulp Fiction flip-flop as my favorite, while Django and Jackie Brown fill in the tier below that.
Reservoir Dogs is super solid but the characters didn't leave as much of an impression on me compared to his later movies. I'd say Basterds and Pulp Fiction flip-flop as my favorite, while Django and Jackie Brown fill in the tier below that.
Inglorious is second from the bottom of my favourite Tarantino movies. It's a fun film and all but it didn't captivate me as much as every other QT film. Plus, I wish I hadn't seen the trailer beforehand. To be fair, if it were not for Inglorious and it's sweet soundtrack I probably would've never watched one of my all-time favourite westerns; The Big Gundown.
Ok, here's a question, Which QT had the best soundtrack?
Ok, here's a question, Which QT had the best soundtrack?
Zoramon089
Banned
Why? The trailer had nothing to do with the movie at all? I know most people went in expecting something more action oriented, like the Basterds killing Nazi's and stuff. Especially coming off of Kill Bill. Instead we got something completely unexpected and more awesome than the former would have been
In terms of best soundtrack? I might go with the Kill Bill movies. The music was excellent and varied. Especially during the O-Ren fight
http://www.youtube.com/watch?v=-tD8PEZ1D8U
In my opinion, that scene dragged on about a minute longer than it needed to be.
the first half was definitely the better part of the movie (not saying the second part wasn't pretty great as well). I would have had absolutely no problem with Foxx and Waltz just riding around and shooting bandits throughout the whole movie
also, as a side note, I thought it was kind of weird how they butchered the Nibelung saga
also, as a side note, I thought it was kind of weird how they butchered the Nibelung saga
Yeah kinda. I'd be lying if I said I wasn't expecting a 2+ hour film of Brad Pitt and friends mowing down Nazis and - inevitably - killing Col. Hans Landa after seeing the trailer for the first time. It just left me disappointed after the end credits started rolling. Watching Inglorious again after knowing that the films isn't abou the basterds made it a lot more fun.
and I agree, Kill Bill had such a great mixture of songs that blended into the story so well.
In my opinion, that scene was far too short! I think it was less than a minute long. It was veryn reminiscent of the Mr Pink scene in RD, and i wish Tarantino dragged it out so perfectly as he did there.
Harry Potter
Banned
Agreed. That conversation is some of his best comedy writing.
Net_Wrecker
Member
Heh, I don't think this was ever mentioned in the thread.
(Spoilers for Django Unchained + Sergio Corbucci's The Mercenary (1968))
http://www.youtube.com/watch?v=hXeBxtyF-5U
I can't believe it took me over a month to realize where that came from.
(Spoilers for Django Unchained + Sergio Corbucci's The Mercenary (1968))
http://www.youtube.com/watch?v=hXeBxtyF-5U
I can't believe it took me over a month to realize where that came from.
check 4:20
SCULLIBUNDO
Banned
Oh and I can't be the only one who noticed him repeating his own lines from KB.
'And that will be the story of you.'
'And that will be the story of you.'
'Go, leave.' Except you _____, you stay right where you are.' All while talking down to people from an upstairs balcony while they're looking up in fear after having been assaulted.
After watching just about every interview on it I finally managed to see it, and it was stupidly entertaining. However it was such a bizarre mix of absolute brilliance (stemming from the script and realized in the performances of Waltz, Sam Jackson and especially Leo) and over the top nonsense (some of which was entertaining enough for me not to care).
Sorry about the large black wall of text.
Spoilers for Django Unchained and IB:
tl; dr Shaft on a horse
Sorry about the large black wall of text.
Spoilers for Django Unchained and IB:
My main problem with it was that the big shootout moment at Candieland completely took me out of it, the song was ridiculous and not in a good way, and it almost threw everything good about the film out the window. Halfway through the film I was thinking "when is something going to happen that I'll strongly dislike", because that's just been the way Tarantino's been for me since Pulp Fiction (although I completely surrendered myself and enjoyed Death Proof). And the last third really was hit and miss for me. It would be wrong not to mention the fact that that thought only entered my head because the first half or so was so good.
Like Inglourious Basterds, which had its outstanding moments in the opening and introduction of Hans Landa, the game and shootout in the bar basement, Christoph Waltz having the film and actors in the palm of his hand in the form of a desert fork with apple strudel, Django had moments of brilliance that was almost ruined by turning into a revenge fantasy. Essentially the film can be split into two: a mock Western (King and Django buddy movie) and a revenge fantasy folklore tale revolving around slavery. I'm not entirely sure if it all comes together, but then again maybe it doesn't need to. I was entertained. And Tarantino obviously has the most fun at the edges of genres; when his films teeter on the edges of different things. You never really know what way it's going to go, which is a hard thing to come by in entertaining popcorn movies these days.
Nevertheless, the Candieland shootout is the killing Hitler in the theatre moment here. For whatever reason, since Jackie Brown (as in everything after) Tarantino has been completely hell bent on revenge movies / sequences and cathartic over the top violence. Some people love him for his over the top panache, I just sometimes find it frustrating that he feels the need to spiral into the ridiculous when he can write something as brilliant as the moments in IB I mentioned, the whole of Pulp Fiction, or the dialogue between Dr King Schultz and Calvin Candie. (is it a coincidence that the film feels like it's on the downward spiral after they both die? My friend made a point that he didn't care once there was no more Christoph Waltz. And I can sort of see that.)
Also worth mentioning is the fact that my theatre laughed a lot, QT actually has you laughing but then immediately gives you second thoughts about laughing. That's a hard thing to do.
Lastly, props to QT for: Django (1966) opening credits theme and font, the friendly participation of Franco Nero and His Name Was King (1971) song. You only get that stuff from him.
Like Inglourious Basterds, which had its outstanding moments in the opening and introduction of Hans Landa, the game and shootout in the bar basement, Christoph Waltz having the film and actors in the palm of his hand in the form of a desert fork with apple strudel, Django had moments of brilliance that was almost ruined by turning into a revenge fantasy. Essentially the film can be split into two: a mock Western (King and Django buddy movie) and a revenge fantasy folklore tale revolving around slavery. I'm not entirely sure if it all comes together, but then again maybe it doesn't need to. I was entertained. And Tarantino obviously has the most fun at the edges of genres; when his films teeter on the edges of different things. You never really know what way it's going to go, which is a hard thing to come by in entertaining popcorn movies these days.
Nevertheless, the Candieland shootout is the killing Hitler in the theatre moment here. For whatever reason, since Jackie Brown (as in everything after) Tarantino has been completely hell bent on revenge movies / sequences and cathartic over the top violence. Some people love him for his over the top panache, I just sometimes find it frustrating that he feels the need to spiral into the ridiculous when he can write something as brilliant as the moments in IB I mentioned, the whole of Pulp Fiction, or the dialogue between Dr King Schultz and Calvin Candie. (is it a coincidence that the film feels like it's on the downward spiral after they both die? My friend made a point that he didn't care once there was no more Christoph Waltz. And I can sort of see that.)
Also worth mentioning is the fact that my theatre laughed a lot, QT actually has you laughing but then immediately gives you second thoughts about laughing. That's a hard thing to do.
Lastly, props to QT for: Django (1966) opening credits theme and font, the friendly participation of Franco Nero and His Name Was King (1971) song. You only get that stuff from him.
tl; dr Shaft on a horse
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