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)
Plots(1)
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)
(more)Videos (42)
Reviews (19)
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%.
()
Not much of an homage to spaghetti westerns, despite Franco Nero's cameo, rather, some kind of (commendable) anti-racist prod that doesn't even make much sense at the end. The experience resembles a sine wave, as long as Waltz is on screen with his enthusiasm, it's a treat that honours even Western rules. But from the moment we meet DiCaprio, the film goes downhill in quality, where the genre's name would best fit the phrase "typical Tarantino crap" and where the "warrant in your pocket" moment (what a coincidence!) is such a cheap, illogical screenwriting crutch that only a naive viewer can buy it. I could expect anything from Tarantino, but not a cliché like this. And the violence, with hectolitres of squirting ketchup, is so over-stylized (especially in the final carnage) that I'm actually tired of it. PS: The scene with the Ku-Klux-Klan will make anyone laugh, myself included.
()
Tarantino’s greatest strength as a filmmaker has always been his ability to use elements taken from various films and genre categories intended for very specific viewers and build a dynamic and diverse spectacle for a broad audience. In this respect, Django Unchained is his masterpiece, as he revitalises for the age of political correctness motifs from shockingly incorrect blaxploitation westerns and plantation films.
()
Anyone expecting a regular spaghetti western will be sorely disappointed. It is more of a typical verbose Tarantino movie with western scenery than a tribute to the genre (or genres) with everything they entail. It was to be expected, but it is still a crying shame, because if anyone, Quentin should have tried to challenge the holy Italian Trinity of Sergios (Leone, Sollima, Corbucci) in their sovereign field. Anyway, it doesn't matter “what it is/isn't“, when it’s such a damn good and stylish movie. Of course, the more you watch it, the more references you notice, but ultimately it doesn't matter if you know which genre classic is referenced by the composition “Für Elise" being played on a harp in the saloon or by the other hundred allusions to this and that; Fans of Monty Python humor will also find something to enjoy in the scene involving the birth pains of a beta version of the Ku Klux Klan… There are only two blemishes. First, the length. It’s too short and therefore in many places inappropriately hurried. And then the finale which lacks a tension-building, face-to-face duel. Which is an unforgivable faux pas, Quentin!
()
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.
()
Ads