Directed by:
Quentin TarantinoScreenplay:
Quentin TarantinoCinematography:
Robert RichardsonCast:
Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington, Samuel L. Jackson, Walton Goggins, Dennis Christopher, James Remar, David Steen (more)VOD (4)
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Set in the South two years before the Civil War, DJANGO UNCHAINED stars Jamie Foxx as Django, a slave whose brutal history with his former owners lands him face-to-face with German-born bounty hunter Dr. King Schultz (Christoph Waltz). Schultz is on the trail of the murderous Brittle brothers, and only Django can lead him to his bounty. The unorthodox Schultz acquires Django with a promise to free him upon the capture of the Brittles – dead or alive. Success leads Schultz to free Django, though the two men choose not to go their separate ways. Instead, Schultz seeks out the South’s most wanted criminals with Django by his side. Honing vital hunting skills, Django remains focused on one goal: finding and rescuing Broomhilda (Kerry Washington), the wife he lost to the slave trade long ago. Django and Schultz’s search ultimately leads them to Calvin Candie (Leonardo DiCaprio), the proprietor of “Candyland,” an infamous plantation. Exploring the compound under false pretenses, Django and Schultz arouse the suspicion of Stephen (Samuel L. Jackson), Candie’s trusted house slave. Their moves are marked, and a treacherous organization closes in on them. If Django and Schultz are to escape with Broomhilda, they must choose between independence and solidarity, between sacrifice and survival… (official distributor synopsis)
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Reviews (19)
Black dynamite. A provocative kick in the balls, which Tarantino inflicts with xenophobia and racism in the field of the "white man" genre, such as the western (but at the same time, in a way, he does not spare the "niggaz"). If I am to blame Django Unchained for anything, it would be that, in addition to the fact that some parts really look like they were edited by a high negro using autogen, then perhaps just its very digital look. I know that Tarantino simply wanted to give the western locations a modern patina, and I know he didn't want to unnecessarily tie himself down with spaghetti western conventions, but in some places Django Unchained looks stylistically quite weak (rather, it lacks style - I think it is important to see Django Unchained in the movie theatre mainly so that one can enjoy the choruses of laughter). But I would end the criticism there. Perfect punch lines (they don't hit you - they tear your balls out and stuff them down your throat), great acting attached to great characters, absurd black humor, irresistible volatility between sublime epics, blaxploitation and grind-house blood, dramatic timing that Tarantino won me over with despite my years of resistance in Inglourious Basterds. What I enjoy most about his new films is how he turns his light, bloody and disrespectful hand against great history and "sociocultural" concepts. This black version of the Nibelungs, where the white pride of the KKK can't see through the bags on the road and a German drinking beer is fighting against the colonels in white... well, it just grabbed me by the balls.
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I didn’t decide to watch this movie for the sole purpose of criticizing Tarantino again. I honestly liked Inglorious Basterds a lot and so I was curious to see what this one would bring. In any case, I knew that style-wise, it was going to be a classic Tarantino that – for a change – uses the best that western’s got to offer. The result was an absolutely unsurprising classic. Tarantino filmed it the best he could. He filmed a piece that respects westerns to the highest degree possible but makes fun of them all at the same time. It respects them with scenes that are a precise copy of some of the best western movie scenes, but it also makes fun of them, for examplewith the fact that the local cowboy is a German and he doesn’t get whiskey in the local saloon; he gets a beer instead. I’ve never seen beer in a western movie before. Also, the Ku Klux Klan scene isn’t one I’m likely to ever forget. And the cherry on top was Jamie Foxx who is an equal of every white man in the movie while the white man simply can’t ever accept that. A classic. Everything comes together to create a great movie, a typical Tarantino piece that isn’t exactly my cup of tea, but that will probablynever change with Tarantino. In any case, I’m glad that I’ve seen the movie and life goes on…
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I was afraid, I don’t like westerns, but I like Tarantino. Fortunately for me, Django Unchained is not even close to a thoroughbred western. It’s just a fun Tarantino movie in the Wild We… South mixed with blaxploitation. After 1200 comments in Filmbooster, it’s hard to come up with something original or interesting to say about Django, so what follows is a couple of personal incoherent rants and observations… The scene with the predecessor of the Ku-Klux-Klan is very funny. The carriage wandering around the American wilderness with a giant model of a tooth on the roof is incredibly cool. Hans Landa can be a nice guy. I wouldn’t like to run into DiCaprio with a hammer. Samuel. L. Jackson is a badass. I liked Inglorious Basterds better :)
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Quentin Tarantino professes his love for tough guys with a gun at their waist and no matter how he reshapes the whole Western world to fit his own image, he never sets foot for a moment out of the story, the homage, or the timely light-hearted mood. And regardless of whether there's rap playing in the soundtrack, the main hero is putting on sunglasses, or the irresistible Leonardo DiCaprio is wildly overacting, I still know that this is essentially a perfect genre film. It's just that its director, despite his outstanding work, is becoming a victim of himself. After the emotionally richer Kill Bill and the perfectly polished Inglourious Basterds, there is simply nowhere else to go with a quest for revenge or infinitely unsettling dialogue with a grounding progression.
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I consider myself a rational man, a person of science, and an admirer of natural laws. I do not believe in water spirits and witches, I smile at the products of astrologers, and I shrug at the belief in prophecies and magic. Occasionally, however, I come across a mystery - something that clearly transcends the boundaries of our world, something that cannot be explained by logic or ordinary thinking processes. I understand why Tarantino made a name for himself with Pulp Fiction. His screenplay cleverly worked with references and pop culture, and it was innovative and funny. But as new titles emerged, the ideas from them disappeared, the effort to be cool turned into awkwardness, quotes turned into copying, and the attempt to meet fans' expectations led to a loss of sanity. However, surprisingly, his success persisted. It's hard to say what the ecstatic admirative comments stem from. Perhaps it's mass suggestion, unknown drugs, or bribes (but in that case, Tarantino shamefully left me out). In the whole movie, I find maybe two funny scenes - the introduction of Christoph Waltz and the encounter with the Ku Klux Klan. The rest is about as funny as the humor of a circus clown from the cheapest provincial circus after a few shots of vodka. The screenplay is unremarkable, relying on poorly written characters, which the director, by the way, doesn't know how to work with. The result is a worn-out, over-stylized, and clichéd film with an excessive runtime. A director like Martin McDonagh knows how to have perspective, playing with genre expectations, and pulp aesthetics in films like In Bruges or Three Billboards Outside Ebbing, Missouri, and overall is several levels above Tarantino. You can interpret Django Unchained however you want, but for me, it's a case of a decently cast, but completely mishandled film. For a long time, I tended to overlook Tarantino's self-centeredness, lack of sanity, and obvious missteps, but now he's getting the full brunt of my dissatisfaction, perhaps even for my previous disappointments. Overall impression: 10%.
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