OMG someone talk about Inglourious Basterds with me! It's like nothing I've seen

I literally cannot stop thinking about this movie.

...with "mullage," once I realized that Tarantino was simply making an "alternate history" (i.e., the end of the war as we might've wanted it...)

I'd seen "Disctrict 9" the night before, so it was quite a 1-2 in the theatre....

I am quickly coming into the opinion of it being my favorite Tarantino movie.

the critics don't know what to do with it the only critic that seems to get it is Ebert and he gave it four stars. Pulp Fiction changed the game because no one had seen anything like it before, and not since that movie have I felt this way. Tarantino really has caught lightning twice.

How did your audience respond? Mine loved it and applauded at the end. It really seemed like a movie for everyone the frat boy, redneck, and film geek love in our theatre was great to be a part of.

...which I mention, because so many were still on the "high" from that film, that it was hard for "Basterds" to stand separately -- there was a direct comparison (despite the apples/oranges thing) and "Basterds" was found a bit wanting -- "okay," "not bad," etc...

I liked it more than many of my colleagues, I think, but wasn't sure why. I'm Jewish, and have a certain take on it because of that.

But the more I thought about it, it was also a rather large commentary on cinema, how we "construct" ourselves, and maybe even how vapid -- Arendt's banality, again -- "evil" really is...

than both Pulp Fiction and Jackie Brown, which I felt were the two best before Inglourious Basterds.

frustrating as hell.

not sure why she won't watch it. she has what i call movie narcolepsy. she always falls asleep in the first fifteen minutes of good movies.

i think if she could stay awake for more than 15 minutes she would understand, but hey - what can you do?

I thought this was the best Taratino ever! This is one that I will own on DVD and watch any time I need something to cheer me up! Mélanie Laurent is incredible, vulnerable yet vested with lethal determination.:thumbsup: :applause:

I have been looking forward to it for so long, it was all I hoped for and more. The acting was great, the characters bigger than life. All the little touches you would expect from Tarantino.... the 60s ish character titles, the dialogue. Brad Pitt was hilarious. Some of the scenes had such unbearable tension, I was so thankful when resolution finally came. He really draws you into the moment. So in Quentin's version of WWII, it seems cinema saves the world?

Looking forward to it.

And Diane Krueger. Yum.

Tarantino film?!

Hubby wants to see it, but I'm a bit reluctant...

read more about it here

http://www.democraticunderground.com/discuss/duboard.php?az=view_all&address=316x1673

1) the parallel between the Landa's "rat" speech at the beginning and the way the cinema audience tried to flee like rats from the fire.
2) I will not ever think about King Kong the same way again after the card game.
3) Brad Pitt Brad Pitt Brad Pitt... so many great lines. Oblige him... and then yelling fascist shithead as he was tackled by Nazis in the theater.


Seriously... can I marry Quentin when I grow up??????

in my top Tarantino movies for sure.

My favorites (in no order) Pulp Fiction, Jackie Brown, and this.

by a long shot and not even in the same fuckin' ballpark as Pulp Fiction. This film could have used tighter editing; some of the scenes dragged on too long. And can Tarantino get over the whole "Mexican standoff" thing? Does he need to put one (in this case two) in every one of his films? And I thought we were going to be treated to a foot massage at the end there but he leaves us hanging. I would say this is the 4th best film that he has directed.

Pulp Fiction was one of the only times in a theatre where I feel like I saw something new, with IB I feel like that again.

To those that haven't seen this, you've never seen WWII like this.

The scenes at the dairy farm and the basement bar were some of the best tension-inducing dialogue I have seen on the big screen in quite a while. The gore was a bit too much for my tastes, but I knew it was coming (I mean, it's Tarantino, come on) and so I averted my gaze from time to time.

I really do think Christopher Waltz stole every scene in which he appeared. Pitt was by far the weakest character, and he wasn't that bad either. I really need to watch it again before I decide. Melanie Laurent has such an expressive face - she can speak volumes without saying a word.

Go see this movie immediately. Be warned though - it checks in at a long 2:33. But if you are a fan of suspenseful dialogue, this one's for you. Tarantino is one of the best when it comes to using it. I squirmed in my seat when Waltz was toying with his prey, as if I were the one being interrogated. What a great movie.

... is the scene where Landa strangles Von Hammersmark to death. I've been trying to figure out the reasoning for it since he was actually prepared for betray to Nazis himself. He even said that she got what traitors deserve. I've came up with a few possibilities.

1. He knew the Basterds were military men and would follow orders. If they were ordered to stay quiet about Landa's alternative history, they would do so. Von Hammersmark was not part of the military, was the real mind behind the plan, and was famous. If she wouldn't keep quiet Landa's version would be questioned.

2. Landa, beside being charming and intelligent, is a sociopath. People with no usefulness to him were expendable. Since Von Hammersmark could not put him in contact with anyone important she served no purpose for him.

3. Landa knows that History is written by the victors. Since in his alternate history he was creating he would be a hero, not a traitor he didn't think he deserved the same fate as Von Hammersmark.

4. Landa mentioned in his earlier speech in the farmhouse his admiration for the rat and it's ability to survive. Since he himself was a "rat" (in the pejorative sense) he was doing disgusting things to not only survive but thrive.

I think the fourth possibility has something to it, especially if you look back at his dialogue in the farmhouse where he mentions the similarities/differences between the squirrel and the rat. How they are basically the same animal except for their markings yet one is treated kindly and the other is killed on sight. Landa was trying to change from a rat to a squirrel through his underhanded actions. Aldo Raine made sure that when the war was over people would know he was a rat.

by incinerating the leaders of the Third Reich is pure cinematic genius!