Review: Inglourious Basterds

There are very few directors in the world who can imbue a dollop of cream and a plate of apple strudel with the sort of pulsating, vivacious energy that Quentin Tarantino can. And there are very few directors who can make twenty minutes of table talk as utterly engrossing and tension building as Tarantino can. But the Pulp Fiction auteur has a way of bringing to life the cinema in ways that hardly anyone else even attempts anymore. He doesn’t do it by using CGI or massive budgets. He does it by knowing how to tell a good story and how to tell it cinematically. And he does it by taking risks. He’s an utter master of the craft—a nerdy, fearless, movie nut genius who turns low art pop kitsch into masterful, luxurious moving picture epics. He’s like the Andy Warhol of the post-MTV, videogame era. And his new movie, Inglourious Basterds, might just be his masterpiece.

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Inglourious Basterds

Inglourious Basterds, Quentin Tarantino’s shockingly violent WWII fantasy, is a late summer jolt of electricity. While the director’s blatant disregard for good taste has never been more apparent, it actually for once works to his advantage. A film that features lines like, “Say goodbye to your Nazi balls” doesn’t beg to be taken seriously after all. It aims low and hits its target with precision.

Tarantino, “QT” to his friends, is a filmmaker forever to be filed under “problematic.” Like the disturbed kid who enjoys pulling the wings off butterflies (but can’t explain why), he has a cruel streak that finds vent in bravura scenes of torture and violence. He appears to be most comfortable working with primitive emotions like fear and rage, and his knack for riling audiences would be legendary if only he had an audience to speak of. (Despite the Oscar nominations, he’s still the property of a cult.) His favorite theme is revenge, or, if you want to split hairs, retribution. The conscientiously profane dialogue that litters his screenplays is often praised for its creativity, though it has always sounded very sophomoric to these ears, very junior high (scatology spiked with the “f” word). His inability or unwillingness to deal with three-dimensional people in favor of caricatures or stereotypes suggests a lack of interest in the world beyond the movie theater. (Jackie Brown is the sole exception, thanks to the humanizing performances of Pam Grier and Robert Forster.) In short, he’s immature, unprincipled, and not to be trusted. A real basterd.
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