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BY Captain-Ryan wannabe
One of Tarantino's best, I would happily see this again and again, which I think always speaks volumes about how entertaining a film really is. Absolute rollercoaster from beginning to end, keeps going when you think it'd be totally fine to end it. Created such an alive world of the film, with beautifully fleshed-out characters, beyond fitting score, mis en scene, and seamlessly shot. If you like Tarantino, for god's sake just see it.
BY RexH superstar
The humour sprinkled throughout Django is perhaps the most surprising aspect of Tarantino's film. From the implied, to the bawdy, to the downright Pythoneseque sequence where the vigilantes argue over the effectiveness of their sackcloth disguises, Django uses humour to both ease the tension and reinforce it. There has always been humour in Tarantino films, of course, but in Django it seems to have reached a new level.
For my money, this is the best Tarantino film... More since Pulp Fiction. I've read and listened to numerous American critiques of the film and none of them seem to have been able to get past the use of "nigger" in the script. "God damn, look at that - a black person on a horse!" Yeah, that works - not! This was how slavers and whites talked then, and throughout the 19th and 20th centuries. Mark Twain's books were removed from American libraries because of his use of the word. Conrad's "Nigger of the Narcissus" was re-titled in the U.S. when first published there. Audiences outside the U.S. don't grasp the polarity and the sensitivity that the word engenders. Black people (African-Americans - even those definitions are a point of contention) live with the knowledge that their great grandparents were slaves or the children of slaves. But even after emancipation, the South held fast to apartheid and lynchings were common (they even made postcards of the hangings). So Tarantino is picking at a still open sore when he attacks slavery head on. And uses humour to do it. What I see as a pointedly satirical piece of humour skewering the nascent stupidity of the pre-Clansmen has been seen as a trivialisation of the vigilantes in the States. It has been pointed out that "Mandingo fights" may well have been a kind of urban myth since there is no objective report of them having occurred. But that's hardly the point in this film - Tarantino uses them to further push the reality of dehumanisation and brutality that were the lot of black people throughout the South (and probably the North and West, as well) at that point in history.
I had no problem with the content of Django, certainly no problem with its filmic aspects. Apart from Tarantino's little bit of self-indulgence towards the end, and that it could easily have been 15 minutes shorter to no ill effect, it easily makes the 4 out of 5 rating for me. Someone - I am unwilling to suggest who - in the great cast deserves some Oscar nods. The movie itself deserves a nomination, if only for having the balls to address head on a subject which too many film-makers have avoided like the plague. Well done, Quentin!Hide
BY JR grader
The script is what you expect from Quentin Tarantino. Violent, funny and clever. There is some truly funny moments in the film which is great to see. Although some of them are truly un-PC. Which is good to see from Quentin. Also there is two types of violence in this film. The brutally and disgusting violence that he show's us that is used towards the slaves. That completely different to the cartoon violence that we are used to in his usual films and also the rest of the film. The two types that are depicted are quite contradicting and different from what we are used to in this film.
Although it''s not without it's flaws and there is a lot of them. Kerry Washington's character is plain annoying. She is under developed and under played. Which is a disappointment. Although the massive problem with this film is that it has a completely un-neccasry 20 or 30 minutes towards the end of the film that dose not need to be there. It doesn't add anything and becomes kind of boring which is a shame. Also Quentin himself appears towards the latter end of the film for about five minutes of screen time. Of which he is truly awful. He puts on this awful, awful, awful Australian accent that is just awful.
This is a good film that could of been better without the last 20 or so minutes. But still is a great ride of film that is truly enjoyable.Hide
BY KeefScorsese superstar
Freed slave Django (Jamie Foxx) treks across the United States with a bounty hunter (Christoph Waltz) on a mission to rescue his wife (Kerry Washington) from a cruel and charismatic plantation owner... More (Leonardo DiCaprio).
As expected the movie is full of all the Tarantino conventions we all enjoy - colourful dialogue, enthusiastic sense of aesthetic design, ridiculous over the top violence and impeccable performances. Special mention to DiCaprio, who as the the charming plantation owner Calvin Candie lets go of his usual top billing but steals the show in undoubtedly one of his best performances. However, it's Candie's most trusted slave Stephen, played so over-zealously by the always reliable Samuel L. Jackson who is the real villain of the movie - a product of the shameful environment of slavery.
Django Unchained is not so polished as Inglorious Basterds but there is a lot to enjoy in this 165 minute almost laugh at minute western. In terms of Tarantino's approach to bloodshed, its perhaps his most tame to the point of almost cartoonish - buckets of blood channelling the great shoot outs in Sam Peckinpah's The Wild Bunch.
Also, Rick Ross, Tupac Shakur and John Legend on the movie's soundtrack - Only Tarantino would have the nerve to put such songs in a western. And it works so brilliantly too.Hide
BY jennytoso wannabe
I SHOULD HATE TARANTINO MOVIES Im a girl, a pacificst and an incurable romantic - but I LOVE them! And here he is doing it again (no horses but unfortunately 750 bottles of tomato sauce were killed in the making of this film). Music brilliant, eye for detail perfect, acting magic, storyline thoroughly satisfying- what more can you ask for in a great movie :)
BY Mark-Roulston superstar
This might seem like an odd thing to say about the man who gave us the blood-soaked extremes of Kill Bill, Inglourious Basterds and, well, any of his other films, but for whatever reason I always expect his films to completely slip the leash and run wild. Django Unchained maintains the madness of the director's earlier films, but more so than ever before, it feels like he has kept his most extreme... More instincts relatively in check.
Django Unchained begins with a fairly simple A-to-B narrative. Pre-Civil War era slave Django (Jamie Foxx) is acquired (in a classic Tarantino opening scene, rivaling Inglourious Basterds) by Dr. King Schultz (Christoph Waltz), a bounty hunter on the search for three wanted brothers. However, it soon becomes apparent that this hunt encompasses only the film's opening third, and a much more sprawling story unfolds over the course of the close to three hour running time. For assisting Schultz, Django earns his freedom and the pair enter into a vengeful partnership in pursuit of Django's wife Broomhilda (Kerry Washington), a slave sold to the sadistic Calvin Candie (Leonardo DiCaprio).
Perhaps more than any of Tarantino's previous films, it feels like he is really trying to say something with Django Unchained. As great as a film like Pulp Fiction is, it really works on cool factor alone, and couldn't exactly be praised for its depth. Here however, Tarantino seems to know precisely when to dial back the cool to comment on the nature of human violence. While full of outrageous gunfights packed to the brim with geysers of gore, the film features an alarming amount of up close, almost intimate brutality that is very upsetting.
Which feels to me like precisely the point. The savagery inflicted upon slaves by their white masters is shoved right in the audiences face, and is much more difficult to endure than the exaggerated violence of the guns, which draw more laughs than anything else. Tarantino has never shied away from violence in his work, but the very clear binary nature of the bloodshed in Django Unchained feels very carefully thought out, and really opens the film up for deeper analysis than anything he has done before.
That said, Django Unchained doesn't completely escape Tarantino's self-indulgent streak. The sheer length of the film will certainly cause some viewers to question the necessity of much of the final 30 minutes, particularly the baffling sequence in which the director makes his obligatory cameo appearance. Also, the most egregious use of a certain n-word since Mel Brooks' Blazing Saddles is going to raise eyebrows with conservative audiences, opening the debate of whether Tarantino is simply courting controversy in the hopes of drawing a crowd.
Aside from perhaps the director himself, the acting is top-notch across the board, with Foxx and Waltz sharing great chemistry, and DiCaprio and Samuel L. Jackson (as house slave Stephen) both hilarious and frightening in equal measure. Django Unchained navigates a razor-thin space between raucously entertaining and unapologetically confronting, yet rarely veers too far either side to become either exploitative or preachy. It's a familiar but somehow surprising effort from Tarantino, and while it may not rank amongst his most well-crafted films, Django Unchained stands out as a bold and completely assured work from a modern auteur doing exactly what he wants to do.
BY JackWallace superstar
BY Sarah29 superstar
BY Hannah-Carter lister
There is something about Tarantino's films that I cannot take seriously. For... More me, watching a Tarantino movie is like watching Glee or listening to a Britney Spears song. It's all surface and no substance. Visually and viscerally appealing, full of style and glitz, but lacking real nourishment. The film contains snappy dialogue and great visuals as a Tarantino would expect. It is full of kitsch camera work and visual punches backed up with a great soundtrack.
It is brutally violent - I averted my eyes in many scenes. Despite this, the film did not make me think deeply about the social implications of slavery. It made me feel uncomfortable in its depictions of violence, in the way that a good exploitation film does. I'm not sure that this movie is as socially important as Tarantino himself takes credit for.
This film's main problem is that it lags - it takes far too long to resolve itself. It could comfortably lose 30 minutes without damaging the narrative.
I take it for what it is, two and a half hours of entertainment on a Sunday afternoon. Or, as the New Yorker so kindly puts it, a "crap masterpiece".Hide
BY RealityCheck superstar
Did you like the begining of 'Inglorious Bastards'? If you did, then you'll love this. Being a Quentin flick, you can expect certain things; crazy story that sort of makes sense, guns, and great acting. The 2hrs 45min went by excitingly-nailbittingly well as the storyline had several different ways to turn. Western that encourages you to think about the black slave trade, what would you have done? Loved it completely, not for the faint hearted or those whom have trouble with... More the "N" word (as it's thrashed around more than a cute gay in prison)!
Genre : Western, comedy, action, drama, love story (as always)
5/5 : you will either love it or hate it, remember its a Tarantino flick, sit back, an enjoy it.Hide
BY PhilMoore superstar
BY adamatdramatrain superstar
Just as 'Inglourious Basterds' was a Leone-style Western set in World War II, so 'Django' is a Leone-style Western set in pre-emancipation era USA. It's offensive only if you leave your sense of humour and your expectations of a Tarantino movie at the door. Yes those same old criticisms can be levelled at Tarantino - the desperate-to-be-cooler-than-cool posturing, the gratuitous violence, swearing and a woeful ignoring of political correctness by employing the 'n' word more liberally than The Man With No Name dispatched bullets in Leone's 'Dollars' trilogy. But if you love Tarantino movies, it's a great ride.
This is easily the best looking Tarantino movie yet, with Robert Richardson's cinematography capturing the grandeur of Hollywood's cinematic West. The cast are all solid and even a dire performance by the director himself attempting an Australian accent is wonderfully sent up by an explosive exit. Despite concerns that, following the death of Tarantino's long time collaborator, Sally Menke in 2010, he'd be hard-pressed to find an editor to match his sensibilities, Fred Raskin does a stand-up job, graduating from assisting on 'Kill Bill' in fine style.
Yes some of it is heavy handed, but it's always carried off with aplomb and a tongue-in-cheek flair for cinematic excess that will delight Tarantino fans. The 165-minute running time flies by with no sagging or dragging and the comedic interruptions, such as a Klu Klux Klan skit in which them good ol' boys complain they can't see sh*t through their hoods is worthy of a Wild West as seen through the skewed satire of the likes of Monty Python. For lovers of film trivia there are, as ever in Tarantino, references a-plenty - from the likes of Mel Brooks' 'Blazing Saddles' to just about every Western you've ever (and never) seen.
What's it all about? At one point Christoph Waltz's Dr. King Schultz asks Jamie Foxx's Django: "How do you like the bounty hunting business?" Django replies: "Kill white people and get paid for it? What's not to like?" Just as 'Inglourious Basterds' used Nazis as the bad guys on which to enact a revenge fantasy, so 'Django' uses racists and slave-owners as an excuse to do the same. It's a morality akin to Spielberg and Lucas' in 'Raiders of The Lost Ark,' that harks back to the white and black-hatted morality of early Hollywood Westerns - in which baddies were bad, goodies were good and right reigned victorious in the end - yee-ha!
One of the principal delights of 'Django' is the casting - from the likes of Don Johnson and Jonah Hill, to an appearance by original Django, Franco Nero, the cast are a delight in big and small roles alike. It's great to see Leo DiCaprio playing a bad guy for a change and he's clearly having a ball doing so. Sam Jackson and Chris Waltz are superb and the only downside of such a great cast is that, by comparison, Jamie Foxx seems a bit bland in the lead. But lets face it, the real star of any Tarantino movie is Tarantino himself and 'Django Unchained' sees him at the top of his fun, if morally empty, game. But then this is not cinema as political tract but cinema as entertaining satirical adult fun.
And let's not forget - racists, slave-owners and Southern bigots are gonna hate this movie...
The hero ain't white.Hide