Eight years after the Joker's reign of anarchy, the Dark Knight is forced to return from his imposed exile to save Gotham City from the brutal guerrilla terrorist Bane with the help of the enigmatic Catwoman.
Former dentist, Dr. King Schultz, buys the freedom of a slave, Django, and trains him with the intent to make him his deputy bounty hunter. Instead, he is led to the site of Django's wife who is under the hands of Calvin Candie, a ruthless plantation owner. Written by
During the dinner scene in Candyland, there is a long shot where Stephen walks from the kitchen to the dining room, then it switches off to Schultz. See more »
When the Australians release Django while traveling to the mine, the backdrop is no longer Mississippi or the South, but the desert Southwest, yet Django rides back to the plantation that day. See more »
Who's that stumblin' around in the dark? State your business or prepare to get winged!
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There is a small additional scene with the 3 men in a cage at the very end of the credits. 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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