Eight years after the Joker's reign of anarchy, the Dark Knight, with the help of the enigmatic Selina, is forced from his imposed exile to save Gotham City, now on the edge of total annihilation, from the brutal guerrilla terrorist Bane.
In German-occupied France, young Jewish refugee Shosanna Dreyfus witnesses the slaughter of her family by Colonel Hans Landa. Narrowly escaping with her life, she plots her revenge several years later when German war hero Fredrick Zoller takes a rapid interest in her and arranges an illustrious movie premiere at the theater she now runs. With the promise of every major Nazi officer in attendance, the event catches the attention of the "Basterds", a group of Jewish-American guerrilla soldiers led by the ruthless Lt. Aldo Raine. As the relentless executioners advance and the conspiring young girl's plans are set in motion, their paths will cross for a fateful evening that will shake the very annals of history. Written by
The Massie Twins
Samm Levine: One of the Basterds also plays the painter in the background of Adolf Hitler's introductory scene. (Levine admitted this by posting a picture of himself as the character on his Twitter account at 4:03 PM on August 21st, 2009.) See more »
In the opening scenes at the farmhouse, it can be clearly seen that the fields have been farmed using mechanized farm equipment - the crop marks from spraying from tractors, for instance. Rural France before the 1960s in general and during the war in particular, was not mechanized in any meaningful way until an influx of wealth from Great Britain and Germany via the Common Agricultural Policy of the Common Market/European Community/European Union. It would all have been horse drawn or manual. See more »
Sgt. Donny Donowitz:
[to Butz, after beating Rachtman to death with his Louisville Slugger]
GET THE FUCK UP! You're on deck!
See more »
Both the opening and closing credits change fonts numerous times, displaying typefaces seen in a variety of earlier and subsequent Tarantino films. See more »
An fun, engrossing, beautifully crafted piece of nonsense, the likes of which we hadn't seen in a long long time. The silliness of the story is marvelously camouflaged with great dialogue and some superb performances. Christoph Waltz must be thinking already about his acceptance speech. What a performance! The civilized monster, polyglot, refined and deadly. He gets us going from the first, sensational scene. Brad Pitt is also wonderful. Was he putting a Mussolinni chin while impersonating (hilariously) an Italian? I thought so. His character's name sounds like Aldo Ray and I'm sure that's no accident. The film is full of movie references. Another character is named Fenek, as an homage to his 1970's sexpot, Edwige Fenech. What is already one of Tarantino's trademarks is his sure step along the most immediately recognizable bits of pop culture. He's clearly not a cultured man but a pop expert, king in a world where people get their news from TV, don't reed, other than magazines and comics, etc. That's how it happens, to be in the right place at the right time. For better or worse this are Tarantino times.
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