Wat verwacht jij van de nieuwe Tarantino film "Inglourious Basterds"?

[Cools]

Als iedereen doet alsof alles wat je aanraakt in goud veranderd(terwijl dat niet zo is).. dan ben je overrated. Iemand die 2 van die gedrochten maakt zoals Kill Bill 1 & 2 verdient het niet om "goed" genoemd te worden.

waren toch goeie films

 

[kearress]

Wat mij niet zo boeide aan Kill Bill waren de overdreven actie scenes, zij met 1 zwaard tegen een leger van 100 ninja's, de liters bloed die spuiten waneer armen of benen werden door gehakt (doet me beetje denken aan de japanse films overdreven geweld en bloed) + ook het langdradig verhaal hadden ze beter in 1 film kunnen doen.

Net als bij from Dusk Till Down de film is goed tot dat in de bar ineens iedereen veranderd in moordlustige vampiers.

Goh, laat dat nou net de bedoeling zijn geweest van Tarantino! Zowel bedoeld als ode als parodie...

 

[Cools]

Dat was juist het goeie aan de film

 

[Jesaja]

Bedoel je die Aziatische kungfu flicks (zoals 36th Chamber/Master Killer) of die gare Amerikaanse ninja bullshit?

Aziatische Kung Fu flicks natuurlijk.

 

[Jesaja]

Eerste keer dat ik die film keek ging hij ook binnen 10 minuten af... Maar nadat ik pulp fiction en reservoir dogs had gezien ging ik hem op een hele andere manier bekijken en vond ik hem geweldig

Ik bedoelde dat ik het na 10 minuten proberen op heb gegeven om een reply te typen. Ik heb die films helemaal gezien.

 

[herkuul]

Goh, laat dat nou net de bedoeling zijn geweest van Tarantino! Zowel bedoeld als ode als parodie...

Ja leek meer een rip-off, zal wel ode geweest zijn zoals jij zegt.

 

[uncLez]

Ik vind eigenlijk de meeste van zijn films wel vet. Hier nog niks van bekeken, dus weet het niet zo goed in te schatten.

Wat ik persoonlijk erg jammer vind aan de man is dat zijn laatste paar films eigenlijk vooral gestoeld zijn op het principe dat hij wil laten zien dat hij alles kan. Per se het slimste jongetje uit de cineasten-klas uit moet hangen.

Maak gewoon weer eens een vette originele film en kap met die borstklopperij, denk ik dan...

 

[Arminius]

First review: Tarantino's Inglourious Basterds shot down in Cannes

Absurd: Inglourious Barsterds stars Brad Pitt

Any thoughts that Quentin Tarantino might add to his Cannes Palme D'Or for Pulp Fiction ought to be quickly dispelled by this absurd, overlong and mostly cardboard version of World War II which has Hitler and his cohorts blown up in a Parisian cinema while watching one of Goebels' propaganda films.

The coup is engineered by a Jewish refugee and the Inglourious Basterds of the title, led by Brad Pitt's tough guy sergeant. They are Jewish American soldiers on a special mission and intend to kill as many Nazis as possible in the shortest possible time. Among the methods used are scalping and clubbing to death.

Divided into chapters which, Tarantino says, each provide a homage to a different genre of movies, starting off with spaghetti Westerns, the film progresses, surprisingly without the flair of Reservoir Dogs or Pulp Fiction, towards its incendiary conclusion often hindered by a screenplay that a much better director like Clint Eastwood would certainly reject.

This places its actors in the unenviable position of appearing either melodramatic, farcical or just plain dull. Even such good performers as Michael Fassbinder and Eli Roth as members of the Basterds can't make much of their parts.

Surprisingly the German actors playing nasty Nazis come off better, even if the brief portrait of Hitler from Martin Wuttke is more risible than threatening.The best [performance comes from Christoper Waltz as the slimy and soft-spoken Nazi Colonel in charge of ridding France of Jews.

The film begins as he visits a French farmhouse and discovers that the seemingly friendly farmer has hidden a Jewish family under the floorboards.All are slaughtered except one daughter (Melanie Laurent) who escapes to forge a new identity as the owner of the cinema burnt to the ground in the final reel. Dinae Kruger plays a famous German star who is also a double agent, finally strangled by the wicked Colonel with his hands.

Death and destruction are everywhere in the film whose six chapters seem to provide one block after another that stall the narrative in its lengthy tracks. There are some decent moments but they are few and far between.

This is Tarantino lite as far as panache is concerned, though it must be said that an indulgent audience seemed to enjoy the film more than many critics. Perhaps it will restore his reputation after the awful Death Proof, though I doubt it.

Quälend langsame Nazi-Walze

Marodierende Soldaten skalpieren im besetzten Frankreich Nazis. So weit, so grotesk und so typisch Quentin Tarantino. Ganz Cannes fieberte dem Film "Inglourious Basterds" entgegen - und hatte nach der Premiere des zähen Werks das Gefühl, Blut beim Trocknen zugeschaut zu haben.

Selten sah man so viele Männer auf dem Podium einer Pressekonferenz in Cannes so heftig schwitzen wie an diesem Mittwoch. Unmittelbar nach der ersten Vorführung von Quentin Tarantinos hei* erwartetem Film "Inglourious Basterds" stellte sich der Regisseur mit seinem Team den Journalisten.

Mike Myers, der im Film einen kühlen britischen General spielt, glänzte die Stirn schon vor der ersten Frage. Daniel Brühl, den Tarantino als schneidigen Nazi besetzt hat, öffnete den Kragen seines Hemdes und zog den Schlips herunter, um sich ein wenig Frische zu verschaffen. Und der Regisseur selbst sah aus, als sei er gerade zwei Stunden lang durch den Regenwald gejoggt.

Nur einer schwitzte nicht.

Er sa* allerdings auch nicht auf dem Podium, sondern direkt davor, zu Fü*en des Regisseurs. Das war der Produzent Harvey Weinstein, der viele frühere Filme Tarantinos wie "Pulp Fiction" oder "Kill Bill" verliehen hat und damit sehr reich und sehr mächtig geworden ist. Im Sommer wird er nun auch "Inglourious Basterds" in den USA ins Kino bringen.

Reglos, mit einem Blick, der den übelsten Schurken dazu bringen könnte, sich auf der Stelle zu entleiben, starrte er seinen Regisseur an. Dem strömten die Worte so unkontrolliert aus dem Mund wie das Wasser aus den Poren, dabei lachte er immer wieder hysterisch.

Man konnte den Eindruck haben, Weinstein wollte nicht weniger als den Skalp von Tarantino.

Warum er so finster guckte? Man kann nur mutma*en.

Vielleicht lag es daran, dass Tarantino auf dem Podium fröhlich erzählte, er könne sich mit allen Figuren des Films identifizieren, folglich auch mit Hitler (gespielt von Martin Wuttke) und Goebbels (Sylvester Groth), die in "Inglourious Basterds" von einer Gruppe amerikanischer Soldaten und deutscher *berläufer bei einer Filmpremiere in Paris getötet werden sollen.

Oder lag es daran, dass der Regisseur nur wenige Monate nach Drehschluss einen Film abgeliefert hatte, der so viele Längen hatte, als handle es sich um die erste Rohschnittfassung?

"Inglourious Basterds" zu sehen ist so, als würde man dem Blut beim Trocknen zuschauen.

Allein die erste Dialogszene dauert über 20 Minuten. Ein Nazi-Offizier (Christoph Waltz) sucht im Jahr 1941 mitten in Frankreich einen Bauernhof auf, um Juden aufzuspüren. Er schraubt seinen Füller zusammen, als würde er eine Waffe zusammensetzen, er trinkt voller Genuss ein Glas Milch, erklärt lang und breit, was er so macht, und trägt höchst umständlich seine Ansichten über Rattenbekämpfung vor. Nach etwa 15 Minuten schwenkt die Kamera nach unten und entdeckt unter den Dielen versteckte Menschen. Doch bevor sie kurz darauf von Maschinengewehrgarben zerfetzt werden, bekommt keiner von ihnen ein Gesicht.

Tarantino beginnt mit totalem Stillstand - und nimmt danach langsam das Tempo heraus. Ohne jedes Gefühl für Timing walzt er seine Geschichte geschlagene 160 Minuten lang über die Leinwand. Er erzählt von einer französischen Jüdin (Mélanie Laurent), die den Nazis entkommt und danach in Paris ein Kino übernimmt; von einem britischen Spezialagenten, der früher Filmkritiken geschrieben hat; und einem deutschen Scharfschützen, der ein gro*er Bewunderer des Regisseurs G.W. Pabst ist. Die ganze Welt ist cinephil, und so ist es nicht verwunderlich, dass am Ende eine gewaltige Explosion in einem Kino Hitler, Goebbels und Konsorten hinwegrafft.

Das Kino erlöste die Welt von den Nazis - das ist eine schöne retrospektive Utopie. Zugleich aber völliger Unfug. Nur in grotesker *bertreibung könnte diese Geschichte wohl einen Sinn ergeben. Doch Tarantino kann sich nie entscheiden, ob er sie nicht doch lieber ernst nehmen soll.

Brad Pitt muss als Anführer der "Basterds" noch heftiger grimassieren als jüngst in "Burn After Reading"; Laurent dagegen spielt die Heldin der Résistance mit psychologischem Realismus. In diesem Film passt wenig zusammen. Wenn sich Weinstein mit Tarantino noch einmal an den Schneidetisch setzt, gibt es viel tun.

Und mit einem feinen Skalpell wird es da nicht getan sein.

..

 

[DrWho]

http://www.deredactie.be/cm/vrtnieuws/opinieblog/blog/1.525984

De eerste indrukken van Ruben Nollet over deze film.

 

[Big-T]

http://www.deredactie.be/cm/vrtnieuws/opinieblog/blog/1.525984

De eerste indrukken van Ruben Nollet over deze film.

Geinige film, maar geen volwassen meesterwerkje dus, duidelijk en wat ik al verwachtte

 

[Arminius]

Like the loyal German bourgeoisie in 1945, trying to keep patriotically cheerful despite the distant ominous rumblings of Russian tanks, we Tarantino fans have kept loyally optimistic on the Croisette this week. We ignored the rumourmongers, the alarmists and defeatists, and insisted that the Master would at the last moment fire a devastating V1 rocket of a movie which would lay waste to his, and our, detractors. But today the full catastrophe of his new film arrived like some colossal armour-plated turkey from hell. The city of our hopes is in flames.
Quentin Tarantino's cod-WW2 shlocker about a Jewish-American revenge squad intent on killing Nazis in German-occupied France is awful. It is achtung-achtung-ach-mein-Gott atrocious. It isn't funny; it isn't exciting; it isn't a realistic war movie, yet neither is it an entertaining genre spoof or a clever counterfactual wartime yarn. It isn't emotionally involving or deliciously ironic or a brilliant tissue of trash-pop references. Nothing like that. Brad Pitt gives the worst performance of his life, with a permanent smirk as if he's had the left side of his jaw injected with cement, and which he must uncomfortably maintain for long scenes on camera without dialogue.
And those all-important movie allusions are entirely without zing, being to stately stuff such as the wartime German UFA studio, GW Pabst etc, for which Tarantino has no feeling, displaying just a solemn Euro-cinephilia that his heart isn't in. The expression on my face in the auditorium as the lights finally went up was like that of the first-night's audience at Springtime for Hitler. Except that there is no one from Dusseldorf called Rolf to cheer us up.
Pitt plays Lt Aldo Raine, the leader of an anti-Nazi commando unit whose avowed mission is to get 100 *beep* scalps apiece; we see the scalpings in full, gruesome detail, yet that figure is entirely forgotten about by the end. Mélanie Laurent plays Shosanna Dreyfus, a beautiful young Jewish woman whose family were slaughtered by SS Col Hans Landa, played by Christoph Waltz. She got away and (somehow) attained not only a new identity, but also ownership of a Paris cinema which is to play host to the premiere of Dr Goebbels's latest propaganda movie, in the presence of the Führer himself. Her plan is to incinerate the entire first-night audience by bolting the doors and igniting her vast inflammable stock of nitrate film. Meanwhile Lt Raine has his own plans for killing Hitler at the movie theatre and the Brits get involved too, in the form of suave Michael Fassbender as Archie Hicox, a crack commando making contact with exotic spy Bridget von Hammersmark, played by Diane Kruger.
There are some nice-ish performances, particularly from Fassbender and Waltz, but everything is just so boring. I was hoping for Shosanna at least to get a satisfying revenge on the unspeakable Col Landa. But no. The two Hitler-assassination plots cancel each other out dramatically and the director's moderate reserves of narrative interest are exhausted way before the end. He should perhaps go back to making cheerfully inventive outrageous films like Kill Bill. Because Kill Adolf hasn't worked out.

Empire has just seen Quentin Tarantino's eagerly-awaited WWII flick, Inglourious Basterds, and it's rather brilliant. Every bit as idiosyncratic as the spelling of its title, it's a wonderfully-acted movie that subverts expectation at every turn. And it may represent the most confident, audacious writing and directing of QT's career.
Forget what you think you know is such a cliché, but here it more than applies. Tarantino has made a career out of subverting expectations – this is the man who made a heist flick without a heist, after all – but he’s outdone himself with Basterds. It’s an action movie that has barely any action. The Basterds themselves, including Brad Pitt’s Lt. Aldo Raine, are off-screen for long periods of time. And it takes wild liberties with history.
But that’s all set up by the opening title card (the film is divided into five chapters), ‘Once Upon A Time In… Nazi-Occupied France’. Not only does that allow Tarantino to use Spaghetti Western-esque musical cues and swipe the odd shot and convention from the likes of Sergio Leone, but it frees him up to take those liberties. This is a fairytale world, in which American soldiers can ghost behind enemy lines, scalp hundreds of Nazis and never get caught. And in which… no, we won’t go there. Not yet. But the ending is so thrillingly audacious that this reporter laughed out loud when it happened. Even when, having read the script, I knew it was coming.
The performances are superb across-the-board. Pitt is hilarious throughout, lending his lines that air of cocky movie-star insouciance that was a touchstone of his turns in the Ocean’s movies. But the standouts for me were Michael Fassbender, who deserves to become a star on the basis of his turn as British officer Lt. Archie Hicox, and Christoph Waltz, as the movie’s villain, Col. Hans Landa, aka The Jew Hunter.
A complex creation, refined, calculating and yet utterly monstrous when the time comes, Landa was the role that Tarantino struggled to fill, so much so that he might have had to pass on making the movie had he not filled it. But in Waltz, he’s found gold. He may look like an evil Rob Brydon, but the Austrian actor is fantastic: oleaginous, chilling and often devilishly charming. He may be a shoo-in for a Best Supporting Oscar nom, and even though it’s mighty early yet, he could become the first actor to win for a Tarantino film.
There are flaws, of course – what film doesn’t have flaws? But they may be exaggerated depending on your feelings about Tarantino. Some of his Grindhouse flourishes – large captions stamped on screen, the usual flirting with structure and chronology, offbeat musical cues (a David Bowie track shows up at one point) and the sudden introduction of a hip narrator (Samuel L. Jackson) – may irk some, but this movie-movie approach has been Tarantino’s forte since Uma Thurman drew a box on the screen in Pulp Fiction.
It’s certainly very talky, and there’s no doubt that Tarantino is in love with the sound of his characters’ voices, but QT dialogue is so much better than most other screenwriters that it’s hard to quibble. If all scenes in movies are about control, Tarantino understands that perhaps better than anybody, and some of the scenes here – the opening exchange between Landa and a French dairy farmer, and the Reservoir Dogs-esque scene in French bar, La Louisiane – are masterclasses in how to switch control from character to character. Indeed, both scenes are as tense as anything Tarantino has ever done in his career.
Remember, though: this is not the official Empire review, simply a reaction to this morning’s screening. Empire’s official verdict may differ from mine, so bear that in mind.

..

 

[ZoutZak]

Cannes 2009: The Tomato Report – Inglourious Splits Critics

But most agree it’s not Tarantino’s finest hour.

Quentin Tarantino's Inglourious Basterds got its long-awaited first screening this morning at the Cannes Film festival, with critics giving it a round of applause at its conclusion, but opinions gathered so far have been mixed.

The film follows a titular group of Allied soliders renowned for their skill, their ability to move within enemy lines and their astonishing brutality. They're the stuff of nightmares amongst the ranks of their victims and they like nothing more than scalping Nazis and bringing justice to occupied France. Loosely based on Enzo Castellari's 1978 exploitation classic, The Inglorious Bastards, it's a deliciously revisionist twist on World War II cinema.

Empire's Chris Hewitt is certainly a Tarantino fan, calling it "rather brilliant" and stating that it's "every bit as idiosyncratic as the spelling of its title. It's a wonderfully-acted movie that subverts expectation at every turn. And it may represent the most confident, audacious writing and directing of QT's career."

The BBC's Emma Jones was also a fan of the film, calling it, "a glorious, silly, blood-splattered return." She did however, have some misgivings about the film's lengthy runtime, saying "At nearly three hours, its director could certainly have trimmed more of its flab."

Elsewhere, the critical reaction has been slightly less positive, with The Hollywood Reporter, Screen International and the Daily Telegraph all having problems with the lack of action and over-reliance on dialogue. They also echoed the BBC's problem with the film's length.

"There's not enough roaring or headhunting," writes The Telegraph's Sukhdev Sandhu. "Tarantino, one of the most exceptional choreographers of blood-ballet working today, should have wielded a cleaver to whole sections of this 154-minute non-epic. There is far too much yakking, some of it thickly accented and hard to follow, most of it without the rhythmic zing of his best work."

Screen International's Mike Goodridge repeats this sentiment. "The Cannes world premiere ran to a shorter-than-expected 154 minutes but it still offers considerable challenges to the attention span of mainstream audiences. Even though there is some action and a fair smattering of Tarantino's customary blood-spilling, the film-maker devotes much of the running time to dialogue."
Cannes 2009
Brad Pitt stars as Lt. Aldo Raine.

And The Hollywood Reporter simply states, "History will not repeat itself for Quentin Tarantino. While his Pulp Fiction arrived late at the Festival de Cannes and swept away the Palme d'Or in 1994, Inglourious Basterds merely continues the string of disappointments in this year's Competition."

But harshest criticism comes from Peter Bradshaw in The Guardian, who claims, "There are some nice-ish performances but everything is just so boring. He should perhaps go back to making cheerfully inventive outrageous films like Kill Bill. Because Kill Adolf hasn't worked out."

So all-in-all it seems that Tarantino's long-gestating drama is far from a return to form for the auteur. Whatever the case, Inglourious Basterds gets the red carpet treatment in Cannes this evening, while it will hit screens worldwide on August 21. Check out more from the Cannes Film Festival via our hub, and join us soon as, tomorrow, Michael Haneke returns to Cannes with The White Ribbon.

Neigt naar optie 2 dus.

 

[Corleoné]

Moest ik kiezen tussen Pulp Fiction en Inglourious Basterds zou ik het eerlijk gezegd niet weten. Inglourious Basterds is mss nog wel iets volwassener, maar Pulp Fiction kijkt voor mij dan weer gemakkelijker weg. De trailer laat trouwens iets helemaal anders vermoeden dan wat de werkelijke film is.

 

[Big-T]

Moest ik kiezen tussen Pulp Fiction en Inglourious Basterds zou ik het eerlijk gezegd niet weten. Inglourious Basterds is mss nog wel iets volwassener, maar Pulp Fiction kijkt voor mij dan weer gemakkelijker weg. De trailer laat trouwens iets helemaal anders vermoeden dan wat de werkelijke film is.

Hm interessant. Dat zou mooi zijn want de trailer vond ik een slechte indruk geven.

 

[Mechanix]

Ik heb em gisteren gezien en ik vond hem wel entertaining meer niet.

Pulp fiction en Reservoir dogs blijven mijn toppers maar Inglourious Basterds was wel goed.

Ik vond de film nice, maar het had iets korter gemogen soms vond ik het niet altijd interessant maar wel zeer vermakelijk.

Het is wel weer in de Quentin Tarantino sfeer, met vermakelijke dialogen.

Ik geef de film 3,5 sterren van de 5 als ik het zou moeten raten.

 

[Corleoné]

Hm interessant. Dat zou mooi zijn want de trailer vond ik een slechte indruk geven.

Het is wel weer in de Quentin Tarantino sfeer, met vermakelijke dialogen.

Idd, enorm spannende en ijzige dialogen, vol van schijnheiligheid. Als je de trailer ziet denk je dat het vooral afslachtingen zijn en brute actie, maar de film is eigenlijk veel meer dan dat.. Zeer verfijnd, subtiel en ook zeer luchtig.

 

[Mechanix]

Ik vond ook dat Christoph waltz het super deed echt masterlijk geacteerd

 

[Schaapiej]

Moest ik kiezen tussen Pulp Fiction en Inglourious Basterds zou ik het eerlijk gezegd niet weten. Inglourious Basterds is mss nog wel iets volwassener, maar Pulp Fiction kijkt voor mij dan weer gemakkelijker weg. De trailer laat trouwens iets helemaal anders vermoeden dan wat de werkelijke film is.

Harder?

 

[Corleoné]

Ik vond ook dat Christoph waltz het super deed echt masterlijk geacteerd

Idd, kan me deze film echt niet voorstellen zonder hem, hij heeft de film echt extra glans gegeven, vond dat hij ook in grote mate Brad Pitt overklaste kwa acteren.

Harder?

, dat ook, maar de film is veel meer dan enkel fysische actie.. Het zijn vooral de dialogen, de persoonlijkheden van de personages en het sterke verhaal die de film zo goed maken.

 

[insanityy]

Optie 2 , vrijdag hem gezien in kinepolis in brugge. Grappig en een goed verhaal maar soms is het iets teveel gepraat , mensen hadden meer actie verwacht. 4/5