I'm not counting Death Proof. I'm also not splitting Kill Bill into 2 movies.
I am always surprised at how little people like Death Proof. I love that movie.
2/15/15 - Horse The Band w/Taken @ Regent // 3/21/15 - Tweedy @ Theater at Ace Hotel // 3/6/15 - Viet Cong @ Echoplex // 4/14/15 - Cloud Nothings @ Echo
4/19/15 - Electric Wizard @ Roxy // 4/22/15 - Faith No More - Wiltern // 5/1/15 - Sleater-Kinney @ Palladium // 5/27/15 - Neutral Milk Hotel @ Warner Grand Theater
6/3/15 - Sufjan Stevens @ Dorothy Chandler
OUTKAST, Black Hippy, Ryan Hemsworth, Pleasurekraft, Shlohmo, TNGHT, Action Bronson, Flylo/Captain Murphy, Jamie xx, DJ Funeral, Lone, Cashmere Cat, De La Soul, Chief Keef, Flosstradamus,
The last bit in Death Proof is wonderful. It's the rest of the movie with the bloated coked out Tarantino dialogue that made it hard to watch, which also made it hard to enjoy Inglourious Basterds. I assume Django is more of the same.
Essentially, yes. I'm not concern trolling Django like a lot of people on the right have been doing, but at the end of the day, this was the American holocaust. It trivializes the historical horror of the event by turning it into a Sergio Leone-meets-Shaft flick. I realize QT skated around similar issues in his last movie, but even there he didn't go so far as to set it in fucking Auschwitz or something.
Actually, i hated it not for the depiction of violence, how long it was, or the use of the n-word. I just thought it was a shit movie, with no substance.
A shit movie? Really?
I hate it when fools be talking shit on QBs and running backs and shit. You go do it.
It was an entertaining for what it was. A revenge and rescue flick. How's that?
Look I didn't feel great about Basterds, either. I'm only drawing a distinction to point out that Django goes much further than Basterds did in turning the particulars of an awful historical event into fodder for a revenge flick. I mean, no one in that movie throws a can of Zyklon B at a Nazi or conducts medical experiments as part of an elaborate revenge fantasy.
I thought I was very well made. The Master was better. Haven't see Zero Dark yet. More than a speghetti western to say the least.
Its like everyone talking shit on cloud atlas. Ok sure it wasn't great, but to put something like that together is a major fucking accomplishment.
Ive tried to write a screenplay and make a film before. Even short, one camera, three actor films are hard to make somewhat not completely shitty.
I mean I don't care if you didn't like the film or not we all have our own taste but it was very good filmmaking and writing and acting and everything.
I don't recall Candyland being particularly funny so I don't see how it was treating it trivially. I think slave traders getting shot is fucking hilarious. I would watch a loop of racist assholes being murdered in hilarious fashions all day long if there was a channel for it. And I think your primary problem with both those movies is that you don't know any Jews and you don't know any blacks either.
Well, sure, Vigo. But at a certain level, you expect the formalistic aspects of quality cinema to be competent if not excellent. That's why I'm moving on to ideology; my point isn't that QT shoots his films poorly or that Jamie Foxx couldn't carry his role.
So you found it historically degrading and wish someone would make the Schindlers List of American slavery? Understandable, but Django simply isn't that film nor is QT that kind of filmmaker.
I don't think we need a Schindler's List of American slavery. And I'm not asking Tarantino to make a different kind of film to satisfy me. I am pointing out what I found troublesome about the film that he did make. That is all.
It's probably futile to argue this, but one man's exploitation is another man's empowerment. If you believe Tarantino's only reasons for making Inglourious Basterds and Django Unchained are to pad his bank account and glorify himself - which would require you to ignore the fact that he put his own salary on the line in order to get the latter made, among other things - then you'll be prone to believe that he's trivializing atrocity. If you understand that a fundamental motivation for exploitation cinema/cinema in general/art in general is to give voice to those who don't always have one in reality, you'll understand that while the film may be a humorous fantasy, it's not for lack of respect to the severity of history. The fantasy kills are presented as ultra-graphic and stylized and often hilarious, but the violence that mirrors actual slave practices is the opposite.
Personally, I wouldn't rank Django or Basterds higher than his top/first four (and I will always count Kill Bill as a single work, though I do find the second half slightly more glorious than the first). But if those two are #5 and 6, that's a quality fucking filmography.
"people typically don't get it so sometimes you have to shove it down their throats"