Django Unchained - Quentin Tarantino's Next Film

[SnuffTheRooster]

I'm really excited about this one, I haven't seen a Tarantino film that I didn't like yet. And of course the fact that its a western is a bonus.

[Justin]

[Neverending]

[Justin]

Nice, QT usually has cool posters.

[Doomsday]

QT has a great admiration for spaghetti westerns. Even though I don't give him as much credit as some people do I'm really looking forward to this.

[Justin]

Yeah, he definitely has a love for westerns...and cult films, that's for sure.

[MasterChief117]

Reviews thus far for the film:



This one from IGN:

Writer-director Quentin Tarantino has made one of 2012's best movies with Django Unchained, a weird, wild, and violent crowd-pleaser that serves as a raucous salute to the spaghetti western.

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The real standouts in the cast are Waltz, DiCaprio, and Samuel L. Jackson, who plays Candie's loyal, old house slave Stephen. This character, as Tarantino has explained, is meant to personify some of the most hated of African-American stereotypes, while also serving as a crafty villain in his own right. Jackson really sinks his teeth into it and has great chemistry with DiCaprio, whose character he essentially raised. DiCaprio also clearly relishes his larger-than-life role, playing Candie as a dandified bastard. Foxx is solid as Django, stripping away his movie star persona as he also did in Ali and Collateral. He's tough, yet vulnerable.

Hollywood Reporter:

The anecdotal, odyssey-like structure of this long, talky saga could be considered indulgent, but Tarantino injects the weighty material with so many jocular, startling and unexpected touches that it’s constantly stimulating. A stellar cast and strong action and comedy elements will attract a good-sized audience internationally, though distaste for the subject matter and the irreverent take on a tragic subject might make some prospective viewers hesitate.

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The film’s greatest problem is that, especially in the second half, the Django character gets a bit lost in the shuffle; he doesn’t pop from the screen the way Schultz, Candie and Stephen do. Django is all about being resolute and determined, but more detail could have filled out the character’s transformation from downtrodden slave to steely master gunfighter. Schultz teaches him about Siegfried and firearms, but the long-journey format could have nicely accommodated a fuller, more gradual account of the expansion of Django’s mind and horizons; as it is, he lurches from impotent nonperson to cocky dude too abruptly.

The Film Stage:

A caveat that prevents Django Unchained from earning a slightly higher score (A-): if the film is, at any point, ever unable to carry all of its own weight, the middle section would need to be singled out. It’s in some of the moments after DiCaprio’s introduction when it feels, in some way, that Tarantino’s fallen a bit too in love with his own world — where things gets a bit doughy around the edges, structure- and pacing-wise, and where no central character is readily identifiable.

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To hell with it, though. The second act climaxes with, speaking in terms of off-camera filmmaking and on-camera character stakes, one of the more tense scenes in Tarantino’s entire oeuvre, leading into a third act with closure is so sweet it doesn’t matter if you saw it coming from the start.

Variety:

Django joins a too-short list of slaves-turned-heroes in American cinema, as this zeitgeist-shaping romp cleverly upgrades the mysterious Man in Black archetype to a formidable Black Man. Once again, Quentin Tarantino rides to the Weinsteins' rescue, delivering a bloody hilarious (and hilariously bloody) Christmas counter-programmer, which Sony will unleash abroad.

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Gorgeously lit and lensed by Robert Richardson against authentic American landscapes (as opposed to the Italian soil Corbucci used), the film pays breathtaking respect not just to Tarantino's many cinematic influences, but to the country itself, envisioning a way out of the slavery mess it depicts. In sheer formal terms, "Django Unchained" is rich enough to reward multiple viewings, while thematics will make this thorny "southern" -- as the director aptly dubs it -- perhaps his most closely studied work.

[FranklinTard]

early reviews have me somewhat worried about the editing. i know he doesn't have his tried and true editor since she passed away, some of the reviews just say some scenes go over long for no reason and don't add to the movie.

[PG Cooper]

Did well as far as Golden Globe nominations go.

[FranklinTard]

So did the tourist years back... awards are bull****.

[Justin]

Agreed.

[Dhamon22]

Got an A+ from Brad Brevet, a critic I trust.

[CrossroadMovie]

I agree, looks interesting.