An insomniac office worker, looking for a way to change his life, crosses paths with a alter-ego devil-may-care soap maker, forming an underground fight club that evolves into something much, much more...
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
The screenplay for this film was featured in the 2008 Blacklist; a list of the "most liked" unmade scripts of the year. See more »
When Fredrich leaves the opera box during the film premiere to go to the projection booth, he walks out of the box and turns to the left. Since he was on the right-hand side of the theater, this would mean he was heading in the direction of the screen/backstage and away from the booth. A few moments later, we see him walk up a flight of stairs where drape hangs off to the left and a masonry wall stands to the right, with the stairs opening to a set of catwalks to the left. The only area this would make sense is in the backstage area of the theater, again opposite the projection booth. Once he does make it to the booth, he arrives at the door on the right side, the same side as the opera box he was in is on. The turn to the left and walk up the flight of stairs makes no sense. See more »
[at the premiere of "Nation's Pride"]
Extraordinary, my dear. Simply extraordinary. This is your finest film yet.
[Goebbels' eyes fill with tears]
Thank you, mein Führer. Thank you.
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Both the opening and closing credits change fonts numerous times, displaying typefaces seen in a variety of earlier 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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