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
After working on this film, composer Ennio Morricone said he would probably never again collaborate with Quentin Tarantino since he didn't like the way the writer/director "places music in his films without coherence" and "never giving enough time". Morricone and Tarantino had also worked together on three previous movies. See more »
Stephen (Samuel L. Jackson) uses the word "motherfucker" four times throughout the film. This is a linguistic anachronism as the word didn't exist until the WWI era (the Oxford English dictionary lists the earliest use in 1918). 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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