Eight years after the Joker's reign of anarchy, the Dark Knight, with the help of the enigmatic Catwoman, is forced from his exile to save Gotham City, now on the edge of total annihilation, from the brutal guerrilla terrorist Bane.
A German dentist buys the freedom of a slave and trains him with the intent to make him his deputy bounty hunter. Instead, he is led to the site of the slave's wife who belongs to a ruthless plantation owner. Written by
First western to win the Academy Award for Best Original Screenplay since Butch Cassidy and the Sundance Kid (1969), and the first to win an Award for Acting (and in the same category) since Unforgiven (1992). The film, along with True Grit (2010), repeated a rare pattern where 20 years earlier, two westerns (the other being Dances with Wolves (1990)) were nominated for Best Picture two years apart. See more »
Michael Parks' straw hat is too modern, as it has eyelet air holes and a plastic cord lock on the chin cord. See more »
Who's that stumblin' around in the dark? State your business or prepare to get winged!
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Normally, the logo for The Weinstein Company is silent. In this film, it is accompanied with the theme music for Miramax from the early 90s, in a nod to Tarantino's first 2 films. See more »
Critics are giving Tarantino way too much credit for saying anything meaningful in this film. His references to 60's spaghetti westerns or 70's black exploitation films don't go beyond cheesy film titles and the interpolation of icky songs on the sound track - the social relevance of these films could hardly matter to him; he doesn't have much to say about slavery, other than it was bad; his emotional palette ranges from revenge to more revenge - anything else is beyond him; his lengthy dialog scenes are becoming predictable -dull, too-cute. The only real difference between the films Tarantino is emulating and his film is a fetish for mixing violence with comedy. I can't help but think that Tarantino sees himself as a liberal-cool-auteur-artist; but it is pretty easy to see through what critics call his social 'deepening' as a recent tendency to patronize: Jews kicking ass (last film) and Black slaves taking care of business (this film).
He also might consider finding a good editor with his next film. The editing here is atrocious, and the length interminable. In addition, could he locate better camera angles to make his boring dialog less boring? (perhaps nothing could do that).
Viewers unfamiliar with Tarantino might find this film weird; his fans will find it amazing; his detractors will find it boring and emotionally juvenile.
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