The Nominees: Inglourious Basterds
My two chief complaints about this film are as follows.
One: the original title was more appropriate, as the Basterds are pretty much the B-plot.
Two: any movie that forces me to stare at Eli Roth's face while he's "acting" immediately has points deducted.
I'm really serious about the last one, because man, I couldn't handle the first scene he was in, never mind how many times he comes back up. He plays "The Bear Jew" and I thought, "You seriously couldn't just get Goldberg?" At least find someone halfway intimidating who could at least one-quarter act. Apparently the role was offered up to Adam Sandler first, which would be just as obnoxious. I stick by my casting suggestion of Goldberg. ... Or even Kevin Pollak.
I can't say this is my favorite Tarantino film, and given that I just watched Kill Bill last week (which I have to say, is my favorite Tarantino film), this makes a fair shot at that title, but doesn't take the gold.
What I loved about this movie were the scenes that don't seem explicitly plot-centric. That would be the A-plot of this movie.
Quentin aimed for a "spaghetti western in WWII" and he totally got that. There's even a scene that could be pulled straight out of a western towards the end which I thought was surprising and wonderful. Even down to the grainy filmstock, filled with minor flaws and imperfections, this is doing it right.
I wish Ennio actually did have time to do an original score, because QT pulled a few cues he's used before (or similar enough I think, "Hey, I remember that scene in the other movie!"), but I give a massive amount of props for one anachronistic song that fits so snugly that I'd love it for that fact alone. Also, QT usually pulls from his personal stash when it comes to music, so I'm a bit surprised this was in there, as it doesn't strike me as his usual fare.
Also, Denis Menochet, for having one scene, was a fucking amazing. And he's as far from unfortunate to look at as you're gonna get outside Russsell Crowe circa Gladiator. He needs to get more work, or I need some French DVDs. ... Possibly both.
And while there are some fantastic scenes to pick from, my favorite dialog exchange has to go to the "Little Man" bit.
Over all, exceptionally solid work. Oh, and the original title?
Once Upon A Time in Nazi-Occupied Germany. Even with that being the name of the first chapter, I thought "Now THERE is one good title."
If Netflix makes things go, up next: A Serious Man. It's Hebrew-a-palooza!
One: the original title was more appropriate, as the Basterds are pretty much the B-plot.
Two: any movie that forces me to stare at Eli Roth's face while he's "acting" immediately has points deducted.
I'm really serious about the last one, because man, I couldn't handle the first scene he was in, never mind how many times he comes back up. He plays "The Bear Jew" and I thought, "You seriously couldn't just get Goldberg?" At least find someone halfway intimidating who could at least one-quarter act. Apparently the role was offered up to Adam Sandler first, which would be just as obnoxious. I stick by my casting suggestion of Goldberg. ... Or even Kevin Pollak.
I can't say this is my favorite Tarantino film, and given that I just watched Kill Bill last week (which I have to say, is my favorite Tarantino film), this makes a fair shot at that title, but doesn't take the gold.
What I loved about this movie were the scenes that don't seem explicitly plot-centric. That would be the A-plot of this movie.
Quentin aimed for a "spaghetti western in WWII" and he totally got that. There's even a scene that could be pulled straight out of a western towards the end which I thought was surprising and wonderful. Even down to the grainy filmstock, filled with minor flaws and imperfections, this is doing it right.
I wish Ennio actually did have time to do an original score, because QT pulled a few cues he's used before (or similar enough I think, "Hey, I remember that scene in the other movie!"), but I give a massive amount of props for one anachronistic song that fits so snugly that I'd love it for that fact alone. Also, QT usually pulls from his personal stash when it comes to music, so I'm a bit surprised this was in there, as it doesn't strike me as his usual fare.
Also, Denis Menochet, for having one scene, was a fucking amazing. And he's as far from unfortunate to look at as you're gonna get outside Russsell Crowe circa Gladiator. He needs to get more work, or I need some French DVDs. ... Possibly both.
And while there are some fantastic scenes to pick from, my favorite dialog exchange has to go to the "Little Man" bit.
Over all, exceptionally solid work. Oh, and the original title?
Once Upon A Time in Nazi-Occupied Germany. Even with that being the name of the first chapter, I thought "Now THERE is one good title."
If Netflix makes things go, up next: A Serious Man. It's Hebrew-a-palooza!