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
The scene with the Australian slave traders was originally written a little differently. Instead of two Aussies and the Southern hillbilly man (played by Michael Parks), according to the final draft of the script, there was supposed to be three Australians, and the characters had more dialogue. See more »
When Broomhilda is instructed to sit down at the dinner table, Stephen puts his hand behind her neck with his fingertips visible. In the next shot, and for the rest of the scene, his fingers are not visible. 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 »
Twisted violence from an overrated director with nothing new to say
This is nominated for best picture? You got to be kidding me. Where are the sweeping themes, the original ideas, the unique contribution to cinema? This is just a remake of a spaghetti western/blaxploitation movie, with the same old funky soundtrack, the same old movie homages, plot tricks, blood splatter, etc. It was fresh and original in Pulp Fiction, but half a dozen movies later, it is becoming formula. But, wait, I forgot, this is a savage indictment of slavery. Hahahaha. This is movie nerd Tarantino stealing other directors' ideas and painting the world in ludicrously simplistic black-and-white, in Technicolor, so that the bad guys are so detestable you'll cheer graphic violence and mass murder. This time it was slavers, last time it was Nazis, what cliché bad guys will be next? Terrorists? Vampires? In a musical homage? How long can this juvenile director keep spinning the same old blood-spattered revenge theme in a genre remake? This is not cutting edge cinema, folks. Using the N-word does not make you a daring film genius. Now if Quentin spent his multi-million budgets on a movie about, say, a father whose daughter was gunned down in a mass shooting, and goes on a killing spree at the NRA headquarters or a Hollywood studio, I'd be just as disgusted but at least I'd call him original. Well, no, it would be just more twisted cliché, like all Tarantino movies these days.
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