Quentin Tarantino is a hit-or-miss director. Regardless of your feelings about him, I believe few would argue that Inglourious Basterds is his best film to date since Pulp Fiction.
Yes, as many viewers have stated, Basterds' biggest – and only – downfall is perhaps Tarantino’s gratuitously lengthy dialogue. However, the deceptively blasé exposition always seems to manufacture sharp moments and thrilling conclusions. Inglourious Basterds is the kind of movie that most certainly wouldn’t get the cast, attention, and studio faith it did if it weren’t for Tarantino’s name. It’s a jarring transition out of a year of slam-bang sci-fi action fests; it’s easy to label it as boring. The pacing is slow. The action is sparse (although marketed otherwise). Basterds will be hard to swallow for some, refreshing for others. But make no mistake — it’s a whole lot of fun if you know what to expect and even better if you’re a big Quentin Tarantino fan.
The film is split up into chapters that help reassure the audience that the gradual pace of Basterds is building up to something. Each chapter is very particular in its development, lending heavily toward your adoration or disdain for the characters and your eagerness to find what it’s all going to add up to. And boy, does it certainly add up. The final chapter of Basterds is worth every word that is uttered, every man that is killed, and every gag that is played. The close is nothing less than sensational and extraordinarily satisfying.
If it weren’t for the humor, Tarantino might have a hard time keeping an audience. It’s a relief that Inglourious Basterds delivers on the laughs. Brad Pitt’s Aldo Raine, the leader of the Basterds, carries most of the humor. His performance is solid, albeit with a flawed accent. Pitt has never been good with accents, so I wasn’t surprised. Eli Roth plays right hand to Pitt’s Raine as Donny Donowitz, aka "The Bear Jew". Roth earns the most ‘cool’ points as a man who gets his kicks by personally brutalizing uncooperative Nazi captives. Opposite Pitt is Christoph Waltz as the hate-worthy antagonist Hans Landa. His performance earned him the Best Actor Award at the 62nd Annual Cannes Film Festival and it’s easy to see why. He is painfully easy to detest and addictive to watch.
Article comments
1 - El Bicho
The film's biggest flaw is a main character's unmotivated, and seemingly arbitary change of heart
2 - Jesse G. Barnes
I won't mention the name, but if you're talking about who I think you're talking about, I think it's arguable, but I disagree.
It is certainly in this persons character to be be opportunistic. This characteristic is clear and present throughout, otherwise this person wouldn't have the position they have or be as good at it.
3 - DW
The basement tavern scene was riveting from beginning to end. Interesting point about the long dialog, usually that would be a big warning signal but Tarantino's dialogs are so intricately crafted and full of surprises. Oh and yea, Landa, what an awesome character and acted brilliantly.
4 - Jesse G. Barnes
The very first scene had me hooked immediately. The one on one performance by two actors was incredible. The tavern was another excellent scene. Very tense. Very engaging.