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Quentin Tarantino

NYPD/LAPD boycotts of Quentin Tarantino reinforce negative stereotypes about cops

Nov 09 // Hubert Vigilla
[embed]220111:42692:0[/embed] Soon after, the LAPD joined the NYPD in calling for a boycott of Tarantino's films. "Hateful rhetoric dehumanizes police and encourages attacks on us," wrote Los Angeles Police Protective League (PPL) president Craig Lally. "And questioning everything we do threatens public safety by discouraging officers from putting themselves in positions where their legitimate actions could be falsely portrayed as thuggery." There are good cops out there, of course, but none of these statements by the PBA and PPL are going to make it easier for them to do their job. Remarks like these make it sound as if the NYPD and LAPD are beyond reproach. If you've paid attention to the news at all or even have some passing familiarity with the Black Lives Matter movement, that's obviously not the case. The issue is police brutality related to systemic racism and/or general problems with hiring and accountability in law enforcement, but reps for the NYPD and LAPD would rather not address those issues. Because hey, look, Quentin Tarantino! Worse still, police reps recently ratcheted up their rhetoric, and it's still not helping their own cause. Late last week, Jim Pasco, the executive director of the Fraternal Order of Police, made a cryptic statement about Tarantino and the police boycott effort. "Something is in the works, but the element of surprise is the most important element. Something could happen anytime between now and [the premiere of The Hateful Eight]. And a lot of it is going to be driven by Tarantino, who is nothing if not predictable." Pasco added, "The right time and place will come up and we'll try to hurt him in the only way that seems to matter to him, and that's economically." So again, rather than try to figure out how to prevent the deaths of more innocent people, how to reach out to underserved or marginalized communities, and just generally figuring out how to be better police officers, high-level police union reps would rather try to organize a major boycott of a new Quentin Tarantino movie and intimidate the filmmaker, and by extension other voices critical of the police, into silence. This is, frankly, stupid. The NYPD, LAPD, and the Fraternal Order of Police come across as petty and tone deaf. The boycott will accomplish nothing substantive with regard to police brutality; it may simply make current perceptions of the police more negative. At the heart of these statements isn't just a general defensiveness but an unhealthy inability to accept legitimate criticism. We're not talking about the deaths of innocent people or good cops who died doing their job. Instead, police reps have dogpiled on a citizen who was protesting peacefully. In case you were wondering, The Hateful Eight comes out in select cities on Christmas Day.
Police vs. Tarantino photo
Police rhetoric not helping their cause
The NYPD and LAPD really hate Quentin Tarantino right now, labeling him a cop-hater and anti-cop. In the process of explaining their dislike for the filmmaker, the NYPD and LAPD are also providing more reason to lose faith in...

Hateful Eight photo
This looks... kind of normal
So I'm guessing I'll be hitting up an unpopular opinion here, but this first trailer for Quentin Tarantino's The Hateful Eight isn't really getting me that excited. It's probably the trailer itself and nothing to do with...

Hateful Eight photo
Hateful Eight

New Hateful Eight image rides into town

Does this look like a bad photoshop?
Jul 02
// Matthew Razak
EW is giving its Comic Con preview this week and that means it has a ton of new looks including all those first looks at Batman v. Superman: Dawn of Justice. Just slight less exciting (or more, depending on your opinion of su...
Hateful Eight Images photo
Eight is great
If ever a film had a strange road to the screen it's The Hateful Eight, but after a cancellation and a strange live reading it is coming and we now have our first look at the titular eight. EW brings to us the line up of all ...

Hateful Eight photo
Hateful Eight

Tarantino's Hateful Eight gets synopsis, full cast revealed

Nov 07
// Nick Valdez
After months of struggling with a leaked script leading to rewrites, production for Quentin Tarantino's next film, The Hateful Eight, begins next January. Because it's so close, the Weinstein Company has released both the fil...

Hateful Eight official release date an 70mm love

Because the bigger the Tarantino the better
Sep 03
// Matthew Razak
Ready for some great news? Not only is Quentin Tarantino's The Hateful Eight coming out next year in fall of 2015, but it will also be getting one of the widest 70mm release in years. Tarantino has been long bragging abo...

Tarantino drafting new Hateful Eight script

Did anyone really believe he wasn't going to make it eventually?
Apr 21
// Matthew Razak
The drama over Quentin Tarantino's The Hateful Eight has been pretty crazy. After the script leaked online he swore he was going to put the film on the back burner, and then decide to hold a one-time only reading of the ...

Quentin Tarantino live reading 'Hateful Eight' script in Los Angeles

The Spectacular One Reads the Hateful Eight
Apr 03
// Jonathan Wray
Quentin Tarantino, understandably upset when the script to Hateful Eight leaked out in January, decided to shelve the project indefinitely. Fans were upset, taking to the streets with torches and pitchforks.. nah, just kiddin...

Movie Monday for February 03, 2014

Feb 03 // Michael Jordan
Stories Quentin Tarantino Sues Gawker Media Michael Bay's Ninja Turtles sure look rebooted alright First 13 of 300: Rise of an Empire to be shown before 300 Jessie Eisenberg is Lex Luthor, Jeremy Irons as Alfred Marvel's Ant-Man gets a new release date...again Flixist's 2014 Movie Preview-palooza Reviews Review: That Awkward Moment Review: 12 O'Clock Boys Pre Superbowl Trailers  First look at A Million Ways to Die in the West Sly Cooper movie gets plot and teaser Trailer for 'Joe' features Nicolas Cage's glorious beard Newest Maleficent trailer is the dreamiest one yet First official trailer for Terry Gilliam's Zero Theorem First trailer for The Fault in Our Stars Superbowl Trailers  Super Bowl TV spot for 3 Days to Kill Super Bowl TV spot for Pompeii Super Bowl TV spot for The Monuments Men Super Bowl TV spot for Noah Super Bowl TV spot for Muppets Most Wanted Super Bowl TV spot for Draft Day Super Bowl TV spots for The Amazing Spider-Man 2 Super Bowl TV spot for Need for Speed Super Bowl TV spot for Transformers: Age of Extinction Super Bowl TV Captain America: The Winter Soldier
Movie Monday - 2/3/14 photo
Hey movie fans, Super Bowl has come and gone, and we got all the trailers and movie info that might have gotten buried while you were drinking the big game away.


Quentin Tarantino Sues Gawker Media

When I first saw this, I gawked.
Jan 28
// Mike Cosimano
Recently, Quentin Tarantino filed a contributory copyright infringement lawsuit against Gawker Media, famous for publications like Kotaku, Vallywag, and (of course) Gawker. The suit claims that, by linking to a download of Ta...

Movie Monday for January 27, 2014

Jan 27 // Michael Jordan
Stories Michael Bay's Ninja Turtles might look super ugly Megan Fox is April O'Neil in Michael Bay's Ninja Turtles Tarantino's The Hateful Eight Might Not Happen First official image of Dumb and Dumber To Disney Wants More Frozen   Trailers  Angelina Jolie is horny in second Maleficent trailer   The Movie Question? What's your most anticipated film of 2014? What was your favorite movie of 2013? What was the best (or worst) movie trend of 2013?
Movie Monday - 1/27/14 photo
Now with more sexy April O'Neil
Welcome Movie Fan! How is your hang over? Hurts? Too Bad! It's time for Movie Monday! Strap in and get your week started with the movie news you might have missed!


Tarantino's The Hateful Eight Might Not Happen

There's a chance the script will be published as a book
Jan 22
// Mike Cosimano
I just heard the most disappointing news of the year, and we're not even done with January. Recently, the first draft of Quentin Tarantino's The Hateful Eight screenplay was leaked by one of six people: Bruce Dern, Michael Ma...

Quentin Tarantino is doing another Western, apparently

Hey, remember the Tonight Show?
Nov 27
// Mike Cosimano
On the Tonight Show last night, Quentin Tarantino apparently announced that his next film would be a Western. That's great! I loved Django Unchained, it's no Inglorious Basterds, but it's an instant classic. Top two Tarantino...

NRH's Weekly Analysis: Food & drink in Pulp Fiction

Jun 24 // Nathan Hardisty
So many folks have commented on the specific use of food and drink in films, including Tarantino himself. One of my favourite video essays explores the topic in great depth across Tarantino’s filmography, but for the sake of time and argument I’d like to focus on his magnum opus: Pulp Fiction. The film’s opener is probably one of the most ballsiest moves in cinematic history. An opening scene should establish a film’s themes. The Social Network opens with gender politics and Mark Zuckerberg’s egotastic abundance, The Dark Knight opens with the Joker’s backstabbing viciousness, but Pulp Fiction? Pulp Fiction opens in some diner. Some diner where two people are referring to each other as “Honey bunny” and “Pumpkin.” It’s a Hemingwayish mess and gives the audience no clues about what’s to come. Then they have coffee and discuss robbery. What cannot be stressed enough here is just how important food and drink are in the film’s thematic drive. They both agree to rob the restaurant, after saying “thanks” for their coffee and saying that “liquor stores” aren’t worth it anymore. Notice the use of reflecting the coffee diner against the liquor store and just how easily the danger shifts just in a few words. There’s a degree of power expressed, and whatever the ‘store’ does is irrelevant; their drink does not protect them from robbery. More tellingly, Tim Roth’s character says that restaurants are “not expecting to get robbed.” This might be a metafictional note because food as a ‘concept’ isn’t usually used for any purpose in film. It’s too real, dull and normal, and characters eating anything slows down the pace. Films are rarely grounded in such reality, certainly not films like Pulp Fiction, which is full of violence, death and villainy. Villains don’t eat sandwiches. This discussion of food and restaurants as concepts and part of a villainous scheme serves to support the violence, power and devil’s carnival that is Pulp’s hyper-reality of Los Angeles. Neither are audiences expecting it: “Customers are sittin’ there with food in their mouths, they don’t know what’s going on. One minute they’re havin’ a Denver omelet, next minute somebody’s stickin’ a gun in their face.” That quote also expresses one of the film’s main themes; inter-connection. That’s a whole other essay in itself but the film is, above all else, tied by objects. Watches, plates, drugs and coffee, steaks and booze. Food and drink are used by Tarantino to reinforce that these stories are all connected and the ‘human experience’ is made up of these connections. Pulp Fiction isn’t just about shooting dudes; it also drops some pretty sick beats about metaphysical concepts like human composition: does eating food and drinking define characters? Does a villain eat sandwiches? Can a diet make Jules and Vincent any more or less ‘anti-heroes’? One of the most memorable moments of the film is the ‘breakfast’ scene. Vincent and Jules play with the “Quarter pounder with cheese” conversation with Jules using this brief “Royale wit’ cheese” anecdote as a means of power later. When they enter Brett’s apartment and attempt to find the briefcase, Jules instead guides the conversation back towards similar ground he had with Vincent. It’s fairly innocuous as Jules makes play with the boy’s fast food as “the cornerstone of any nutritious breakfast.” Notice how Jules takes a bite out of the burger -- “This is a tasty burger!” -- while asking Vincent if he’s ever tried one, he’s linking them by food. Vincent however seems to change character completely and stops conversing, becoming more of the silent mysterious figure we expect of his character type. Tarantino further uses food as a means to explore character and the themes of identity within. Jules tells us that he can never have meat because of his girlfriend, something he says “pretty much makes me a vegetarian.” But is that true? Here, Tarantino uses food as a disguise. Once more, the film asks if a person is defined by what they eat. Vincent’s ‘date’ with Mia also reveals some fairly easy pickings about Tarantino’s approach to food. Vincent has his steak “bloody as hell” and Mia has her burger “bloody,” showing a connection between the characters through their food choices. Tarantino utilizes these connections to prove that food and drink can be used as tools that a filmmaker can use to allow for extra depth exploring characters and relationships. Also notice how John Travolta just leans over and drinks Mia’s milkshake. He says that it’s a “fuckin’ good milkshake,” and both his language and occupation subvert the milkshake’s generally innocent status and taint it. The milkshake, just by the use of the vulgar term “fuckin,’” has been changed into an object of almost violent quality. Again Tarantino is showing how drink can be changed into a tool and how easily things can turn ‘wrong;’ arguably linking it to his use of accidents as a means to propel a story (the bank robbery going wrong in Reservoir Dogs, Shoshanna meeting Hans Landa again in Basterds and the entire way that Stuntman Mike kills people in Death Proof). The coffee during the Jimmie scene is used for a variety of reasons. Jimmie tells Jules to shut the expletive up and that he knows “how fucking good it is.” He complains that Bonnie buys terrible stuff, but he wants the gourmet stuff because he wants to “taste it” every time he drinks it. Maybe this is Tarantino, given that he cast himself, literally telling the audience that that his film has substance to it; he has “taste” above the average fodder. He knows he’s making a masterpiece, he doesn’t need you to tell him how good it is. He’s a strong independent white man who don’t need none of your-- The film soon ends with a direct and quite brilliant reverse of the conventional filmic approach to food and drink. Jules says that “a sewer rat may taste like pumpkin pie. I’ll never know ‘cause even if it did, I wouldn’t eat the filthy motherfucker.” Here, he may be discussing the nature of appearance versus reality, but again the vulgarity taints the pumpkin pie, linking it all the way back to the pet names that Honey Bunny and Tim Roth give each other. In reality, ‘Pumpkin’ and ‘Honey Bunny’ are not as sweet as they seem; they are in fact rats themselves. Tarantino, above anything, is one clever cat. Food and drink in Pulp Fiction are used, just like all the objects in the film, to explore characters, themes and the overall statement that killers and criminals have gotta eat just like everyone else. It’s all over his work, too: Django Unchained features Leonardo DiCaprio’s character ordering a “Polynesian Pearl Diver.” Tarantino clearly uses food and drink throughout his works as a means to symbolize characters like Candie as those who want power, show power but hold none compared to those of ‘real taste.’ There’s a reason that Tarantino’s first ‘real’ film, Reservoir Dogs, opens with a diner scene just like Pulp Fiction. It, like Pulp, is masterful at smashing expectations. Pulp Fiction though, is Tarantino’s best film, and its use of food and drink is just one of its many delicious delights.  
Weekly Analysis photo
A dive into cinematic cuisine
Quentin Tarantino’s beautiful vision of a Los Angeles soaked in sin is unlike any other. The film has truly transcended genre -- though it pulls from action, crime, romance, vignette collection and more -- and has bur...

Flixist Awards 2012: Best Director

Feb 25 // Matthew Razak
Django Unchained may have stirred up some controversy, but there's one thing no one could argue about: Quentin Tarantino put together an amazingly good movie. From nailing the cast to shooting in his fantastically unique style it stood out. From nods to classic westerns to somehow keeping a very dark film entertaining Tarantino showed us why he's a master of the medium he loves so much. Often his films can feel like he's simply referencing things he's seen, but with Django everything seems somehow fresh while still honoring what came before. Moving past Tarantino's mastery of the homage is his mastery of making violence somehow artistic. There's so much going on in Django that it seems ridiculous to focus on this, but that last shoot out is a gun fight masterpiece. The man is simply a brilliant director. Full Review. This was one of our closer contests and all five directors definitely deserve some sort of dinosaur statue even if they didn't grab a Golden Pterodactyl. Paul Thomas Anderson especially deserves a bit more attention since The Master disappeared  from the radar this awards season other than its actors. Meanwhile, Ben Affleck truly established himself as one of Hollywood's best directors with Argo and Spielberg kept his throne by giving us the powerful, though flawed, Lincoln. We're also pretty sure that Wes Anderson makes the same movie every time, which is fine with us because that movie is awesome and Moonrise Kingdom might be his best version of it. Wes Anderson - Moonrise KingdomSteven Spielberg - LincolnPaul Thomas Anderson - The MasterBen Affleck - Argo
Best Director photo
They have arrived and this is the first one
The 2012 Flixist Awards (known as the Golden Pterodactyls by those in the know) have arrived. Now that those far less important awards have come and gone, it's time to get down to the ones that really matter. We'll be spendin...

You would also totally watch a Quentin Tarantino Biblical revenge movie
Over the weekend, Saturday Night Live did a great parody of Django Unchained and Quentin Tarantino movies in general. Behold Djesus Uncrossed, with Christoph Waltz as the Man (with No Name) of Galilee. I'm not going to give ...

Deep Analysis: Django Unchained

Jan 14 // Nick Valdez
Before I get started, allow me to explain what the "hero's journey" truly is. A hero's journey centers on a chosen individual, conventionally average, who has to go through a set of trials and reach a point of transcendence (or evolution) because of struggle and the persistence to overcome that struggle. An example of a conventional hero's journey is "Baby" in Dirty Dancing. While she was guided by another, she ended up reaching a heightened point in her character (which was literally represented by her "lift" at the end of the film). However, not all hero's journeys are visible and could only be seen through analysis. That's where Django Unchained comes in.  Django Unchained initially represents itself as the sole story of Django and his "unchaining," or break from bondage. The opening credits present a downtrodden slave marching forward along to someone else's accord, yet the roaring, almost inciting music in the background argues that the hero "Django" is underneath that individual. You see, here is where the film's dissonance begins. And that dissonance causes the rift between the three stories. What? Three stories? That's right.  Django Unchained's story is broken into three acts: Django's Revenge, Schultz's Journey, and Django's Journey. Once again, these breaks in the story are caused by the contrasting tones of the film. The first act ends when Django kills the three brothers, and Schultz's act begins when they first meet Candie. You can tell the shift between Django and Schultz's stories thanks to the shift in tone. Django's stories are more camp, resulting in lines like "I like the way you die boy," the almost cartoonish violence (as seen in both of Django's gunfights, even more so during the finale), and the fact that "Big Daddy" exists. Schultz's tones are far more graphic with the Mandingo fights, and the slave being torn apart by dogs. This graphic shift between types of violence gives us a glimpse into Schultz's mysterious "persona." Since he's given us the idea behind personas, whose to say he hadn't adopted one during the entirety of the film? How much of himself was he truly revealing to Django? This mystery fuels the rest of the narrative. Right after Django's juxtaposed visual, we have Dr. King Schultz's enigmatic introduction. Dr. Schultz automatically controls the story from that point on. He commands the attention of the viewer (which is no doubt attributed to Waltz's performance (which he got a silver medal for)), commands the direction of the story (he is the overseer and gives exposition), and takes Django as his "slave"/partner as a physical representation of that control. This is to let the viewer know that we're not in Django's story anymore, we're in Schultz's. Schultz's story is the result of the subtle dissonance within the story, therefore his journey is subtle. It is purely metaphysical.  To go back to Schultz's introduction, he's first a man who's willing to shoot's someone head off, shoot a man in front of his son, and shoot someone in front of a town full of people without a second thought as long as they are "bad guys." Schultz is given a vague character in order to vilify him. One poignant moment in the film is when Schultz asks Django to shoot a man in front of his son. Django initially argues against it, but Schultz comforts him and tells its okay because the man is a "bad guy." At this point, you're forced to wonder what kind of a man Schultz is. This moment provides the only concrete bit of Schultz's characterization for the first third of the film. This moment also serves to further remove Django from the "hero" role initially.  In every early interaction with Schultz, Django is almost childlike and remarkably more innocent than he should be. He's wide eyed (like when he takes than first sip of beer and listens to the story of Brumhilda), and takes on the persona of bounty hunter with childlike excitement and vigor (even donning the suit from "The Blue Boy"), therefore, it almost seems villainous how much power Schultz has over him. Schultz only claims Django for his own needs, keeps him in bondage despite his greater desires for equality, and his vague character doesn't make anything better. It's only when Schultz is confronted by another equally vague, yet dark character does Schultz reexamine himself.  Calvin Candie for all intent and purposes is a gentleman. He too, however, represents a dissonance. His courtly demeanor, fine attire, are contrasted by his ugly insides (represented by the fine layer of filth on his teeth). Sure Calvin Candie is the film's "villain," but what exactly does he do? Nothing with his own two hands. You can argue that he didn't present a threat until the dinner party where he places his hands on someone for the first time despite his heinous actions before that. Like Schultz, Candie is given a vague character. You don't exactly know what he's thinking, and in some ways, you can sympathize with the man. His answer to Schultz's betrayal is almost justified (and Schultz further ends up looking like a villain). When Schultz betrays him, Candie is distraught. He's spent a good amount of time with this man he thought he knew. He had an emotional investment from gentleman to gentleman. And yet, angry as he was, Candie still did nothing. He was willing to uphold a gentleman's agreement and give Schultz and Django their freedom. Candie's demise is Schultz's peak of juxtaposition, and his turning point. In this moment, he embodies both the hero and villain. He's the villain for shooting down a man who essentially did nothing, yet he's the hero for striking down the film's "villain." But it all comes down to Schultz's words, "I couldn't help it." And it's important to understand what feelings compelled him, what caused that dramatic shift. When Schultz first tells Django they are going into Candyland (notably after Schultz has done all he needs to), this is the beginning of Schultz's hero's journey while Django's hasn't started yet.  When the slave is being torn apart by dogs, we see the first break in Schultz's poker face. His "persona" cracks when being assaulted by pure evil. He held together well during the Mandingo fights, but for some reason, it took this graphic notion to finally break him. What we didn't see, however, was Schultz began to change. Schultz was turning into the hero, someone who was going to kill someone for a reason other than to "sell their corpse."  When he shoots Candie, and dies as a result of it, he does it because he couldn't help himself. His emotional turmoil of facing Candie, facing his villain, forced Schultz to give up the villain persona and become the hero. Although shooting Candie seems like a villainous act (thanks to Stephen brutally crying over Candie), Schultz has firmly rooted himself in the hero role by choosing a "valid" and "just" reason to kill.  After Schultz dies, and his hero's journey ends, the film continues for some reason. At first it's confusing, until you realize Django is still involved. While Schultz arguably has the better character and story, the film isn't billed as "Schultz Unchained." Django's story still needs to be told. Yet, it feels tacked on. Like an afterthought. And that's when the film goes bananas. It steeps itself within the cartoonish realm. Quentin Tarantino explodes (both figuratively and literally), ridiculous amounts of blood cover on screen, and Django becomes the hero he's billed to be. He becomes "the fastest gun in the West" only after Schultz's story ends, and Django is allowed to finish his.  Django gets his revenge early on (which is why Unchained is more than a revenge film) and only becomes the hero when he is allowed to make decisions for himself. His story feels tacked on, and almost unnecessary because the viewer has yet to see a story that isn't controlled by Schultz. Without Schultz's control, the film is allowed to explore different areas, reach different heights of tension, and explode in glorious violence and celebration (accentuated by an explosion). Is that why Schultz feels like the villain? Because he has so much control over the character (if you still have doubts over his amount of control, Schultz's first name is KING) designated for the "hero" role and then steals it from him? Possibly.  Yet, Django dons the burgundy and becomes the hero we expect him to be. Just by the end, it almost feels like his transformation was unearned. Django doesn't say or emote much, so how can we be sure he deserves a happy ending? We're not sure, and that's just fine because Django Unchained isn't really about Django, Candyland, the antebellum South, homages to the past, or even about needing "A HUNDRED BLACK COFFINS!" It's all about Dr. King Schultz. The man who created the three stories in the first place. 
Deep Analysis: Django photo
Why Django Unchained is not really about Django
Django Unchained is a peculiar film. It tip toes along a fine line between vigorous exploitation and gentle subtly. At times, it feels like it is fighting itself to decide what kind of film it wants to be. Does it want to be ...


The pop culture references of Quentin Tarantino movies

Just over five minutes worth of namedropping in chronological order
Jan 03
// Hubert Vigilla
Quentin Tarantino's films have always been rife with references: movies, actors, bands, songs, comic books, and so on. The people over at College Humor have compiled a lot of these pop culture references into a five-minute n...

Review: Django Unchained

Dec 24 // Geoff Henao
[embed]213985:39269[/embed] Django UnchainedDirector: Quentin TarantinoRating: RRelease Date: December 25, 2012 Two years before the Civil War, a slave named Django (Jamie Foxx) is bought by the dentist turned bounty hunter Dr. King Schulz (Christoph Waltz) in order to help Schulz track down three wanted criminals whom Django is familiar with. In exchange for the assistance, Schulz offers Django freedom. However, after realizing Django's potential, Schulz takes him under his wing and mentors him. Schulz agrees to help Django find and save his wife, Broomhilda (Kerry Washington), from Calvin Candie (Leonardo DiCaprio). Unfortunately, Candy is a ruthless slave master that runs Candyland, a slave plantation that trains male slaves to fight one another to the death. Quentin Tarantino is known for his stylistic, over-the-top approach to cinema, and Django Unchained is no different. While the film is heavily rooted in antebellum America, there are still a few Tarantino-esque anachronisms, including Rick Ross musical segues and his patented dialogue scenes that obviously feel out of place for the period, but still add an extra layer of humor to said scenes. In a surprising turn for Tarantino, Django Unchained is a linear film, devoid of the twists/chapter breaks of his past films. However, despite the change in narrative format, Django Unchained still takes genre conventions and spins them around the way Tarantino knows how. The film is a Western through and through, but shares typical Tarantino elements like black comedy, the aforementioned long dialogue token scenes, and over-the-top action sequences.  Because of the linear approach, Django Unchained stays focused on Django's and Schulz' journey. Without the divergences and shifting perspectives found in previous Tarantino films, this leads to stronger lead characters... or so you would hope. That's not to say that characters in previous films weren't already strong characters, but with a cast that stays relatively small, more attention is driven towards the two leads. However, one actor clearly outshines the others. Three guesses, but the first two don't count. Tarantino has this innate ability to write and tailor his characters perfectly for the actors cast to play them. This leads to an effect where not only is the character inherently more interesting, but Tarantino's pinpointed writing also elevates the actor's abilities to the fullest. The most recent Tarantino "product" is Waltz, and his take in Django Unchained shows that his award-winning performance in Inglourious Basterds wasn't a one-off thing. Don't let the marketing fool you: Waltz' Dr. King Schulz is just as much of the lead character as Foxx' Django, perhaps much more so. Schulz is a German ex-dentist-turned-bounty hunter/slave sympathizer, whereas Django is a freed slave out for revenge, as well as the safety of his wife. The biggest gripe is not so much Foxx' acting, but perhaps Django's writing. Waltz kills every scene he's in with this balance between proper gentleman manners and condescending, passive aggressive badass. Where Waltz' performance relies on subtlety and balance, Foxx' Django is pretty one-dimensional. Look no further than the dialogue/accents every character takes up in the film: every other character, from Waltz to Candie to even Samuel L. Jackson's Stephen, speak with period-appropriate language. Django, on the other hand, feels too much like an anachronism. I'm entirely unsure if this was done on purpose by Tarantino, Foxx' acting, or just the way Tarantino wanted to portray slaves in his universe; whatever it may be, Foxx' Django felt lacking. Old and new Tarantino fans know what to expect of him by now, and Django Unchained won't change any previously held conceptions. It's a thoroughly-entertaining film, although has a tendency to run a bit slow in between the "meatier" segments of the film. There really aren't many better ways to celebrate the holiday season and end of the year than watching Jamie Foxx and Christoph Waltz kill wanted criminals and slave owners, especially when the film is buoyed by another amazing performance by Waltz and the captivating writing/directing from Tarantino.
Django Unchained photo
Tarantino does it again
Quentin Tarantino and his style of filmmaking really don't need an introduction. With a directorial career spanning over two decades and eight films (not including the films he's co-written/produced/introduced/etc.), Tarantin...


Quentin Tarantino talks retirement plans

Long story short, blame digital projection
Nov 29
// Xander Markham
In a directors' roundtable interview for Hollywood Reporter, Quentin Tarantino has admitted that he's already planning his eventual retirement from movie directing. The reason? In his view, the move to digital projection has...

Isla Fisher in talks to star in Jackie Brown prequel

In other news, there is a Jack Brown prequel in development
Nov 15
// Thor Latham
The ever lovely Isla Fisher is apparently in talks to co-star in the as-of-yet titled prequel to Jackie Brown, a thing I wasn't even aware existed. Based on the novel The Switch by Elmore Leonard, the film will follow Sa...

New theatrical poster for Django Unchained

Bang! Bang!
Nov 12
// Thor Latham
After having just seen the trailer again before a showing of Skyfall (awesome, by the way), I think Django Unchained is quickly becoming one of my most anticipated movies of the winter. A new theatrical poster has been r...

New images from Quentin Tarantino's Django Unchained

Oct 31
// Hubert Vigilla
Some new pics have arrived from Django Unchained, Quentin Tarantino's upcoming western. While we get our extra looks at Jamie Foxx, Christoph Waltz, Kerry Washington, and Samuel L. Jackson, we also get a first glimpse at Don ...

Trailer: Django Unchained

Oct 24
// Nick Valdez
This new trailer for Django Unchained is "off the chain." We get a little more of DiCaprio's Calvin Candie (more aggressive than he was in the previous trailer), more of Django's blue suit thing, more guns and shooty action-...

There's a whole lot of Quentin Tarantino going on at the end of the year. There's Django Unchained on Christmas Day and there's the Tarantino XX: 8-Film Collection Blu-ray in late November. Sandwiched between those, however, ...


New character posters for 'Django Unchained'

Oct 19
// Thor Latham
If, somehow, you had forgotten all of the awesome people that were starring in Django Unchained, these new snazzy character posters will quickly remind you why you should be excited for Quentin Tarantinto's next big thing. Ja...

Trailer: Django Unchained

Oct 10 // Hubert Vigilla

New trailer for Django Unchained. It still comes out Christmas. We still want to see it bad. 'Nuff said. (Get well soon, Stan Lee.) [Via First Showing]


Mondo artists create Dredd 3D poster, Tarantino box set

Sep 20
// Liz Rugg
In case you missed it, Dredd 3D is actually supposed to be pretty good, and now it has the Mondo poster to prove it. As a part of the film's final premier at Austin's Fantastic Fest, Mondo has teamed up with artist Jock to cr...

Anthony LaPaglia leaves "out of control" Django Unchained

Aug 20
// Hubert Vigilla
Anthony LaPaglia is the latest actor to leave Quentin Tarantino's Django Unchained. You may recall that Kevin Costner left the production last year to be replaced by Kurt Russell, who left the production with Sacha Baron Cohe...

Want to know Tarantino and Scorsese's top ten movies?

Aug 06 // Xander Markham
THE SIGHT & SOUND GREATEST MOVIE POLL: DIRECTORS' BALLOTS QUENTIN TARANTINO The Good, The Bad & The Ugly (Leone) Apocalypse Now (Coppola) The Bad News Bears (Ritchie) Carrie (DePalma) Dazed And Confused ( Linklater) The Great Escape (Sturges) His Girl Friday (Hawks) Jaws (Spielberg) Pretty Maids All In A Row (Vadim) Rolling Thunder (Flynn) Sorcerer (Friedkin) Taxi Driver ( Scorsese) MARTIN SCORSESE 8 1/2 (Fellini) 2001: A Space Odyssey (Kubrick) Ashes And Diamonds (Wajda) Citizen Kane (Welles) The Leopard (Visconti) Paisan (Rossellini) The Red Shoes (Powell & Pressburger) The River (Renoir) Salvatore Giuliano (Rosi) The Searchers (Ford) Ugetsu Monogatari (Mizoguchi) Vertigo (Hitchcock) EDGAR WRIGHT 2001: A Space Odyssey (Kubrick) An American Werewolf In London ( Landis) Carrie (DePalma) Dames (Enright & Berkeley) Don't Look Now (Roeg) Duck Soup (McCarey) Psycho (Hitchcock) Raising Arizona (The Coen Brothers) Taxi Driver (Martin Scorsese) The Wild Bunch (Peckinpah) Choice Quote: 'Carrie turns Stephen King's horror of adolescence into a full-blooded teenage pop opera. They didn't need to turn it into a musical - it already was one.' FRANCIS FORD COPPOLA Ashes And Diamonds (Wajda) The Best Years Of Our Lives (Wyler) I Vitteloni (Fellini) The Bad Sleep Well (Kurosawa) Yojimbo (Kurosawa) Singin’ In The Rain (Donen & Kelly) The King Of Comedy (Scorsese) Raging Bull (Scorsese) The Apartment (Billy Wilder) Sunrise (Murnau) GUILLERMO DEL TORO Frankenstein (Whale) Freaks (Browning) Shadow Of A Doubt (Hitchcock) Greed (Von Stroheim) Modern Times (Chaplin) La Belle Et La Bete (Cocteau) Goodfellas (Scorsese) Los Olvidados (Bunuel) Nosferatu (Murnau) 8 1/2 (Fellini) Choice Quote: 'Full of iconic moments of pure cinema, pulp horror, carny noir, perverse melodrama - Freaks is still unclassifiable after many decades. Still sick, twisted, perverse and profoundly human.' MICHAEL MANN Apocalypse Now (Coppola) Battleship Potemkin (Eisenstein) Citizen Kane (Welles) Avatar (Cameron) Dr. Strangelove (Kubrick) Biutiful (Inarritu) My Darling Clementine (Ford) The Passion Of Joan Of Arc (Dreyer) Raging Bull (Scorsese) The Wild Bunch (Peckinpah) Choice Quote: 'Avatar is a brilliant synthesis of mythic tropes, with debts to Levi-Strauss and Frazier's The Golden Bough.' WOODY ALLEN Bicycle Thieves (De Sica) The Seventh Seal (Bergman) Citizen Kane (Welles) Amarcord (Fellini 8 1/2 ( Fellini) The 400 Blows (Truffaut) Rashomon (Kurosawa) La Grande Illusion (Jean Renoir) The Discreet Charm Of The Bourgeoisie (Bunuel) Paths Of Glory (Kubrick) KENNETH BRANAGH Manhattan (Allen) Black Narcissus (Powell & Pressburger) Au revoir les enfants (Malle) Citizen Kane (Welles) Raging Bull (Scorsese) Brief Encounter (Lean) The Third Man (Reed) The Searchers (Ford) Napoleon (Gance) Tootsie (Pollack) Choice Quote: 'Manhattan is rhapsodic musically, visually and emotionally. The grim comedy of city lives turned to poetry.' BONG JOON-HO A City Of Sadness (Hou) Cure (Kurosawa K.) The Housemaid (Kim) Fargo (Coen Bros) Psycho (Hitchcock) Raging Bull (Scorsese) Touch Of Evil (Welles) Vengeance Is Mine (Imamura) The Wages Of Fear (Clouzot) Zodiac (Fincher) SAM MENDES The Godfather Pt II (Coppola) Taxi Driver (Scorsese) There Will Be Blood (Anderson) Blue Velvet (Lynch) Vertigo (Hitchcock) Fanny And Alexander (Bergman) The 400 Blows (Truffaut) Rosemary's Baby (Polanski) Citizen Kane (Welles) Kes (Loach) FERNANDO MEIRELLES Enter The Void (Noe) The Tree Of Life (Malick) Goodfellas (Scorsese) Zabriskie Point (Antonioni) Vidas Secas (Pereira dos Santos) Iracema (Bodanzky) Arabian Nights (Pasolini) Ran (Kurosawa) Apocalypse Now (Coppola) The Thin Red Line (Malick) Choice Quote: 'There are two films I was very influenced by: one is Goodfellas. The structure of City Of God is based on this film.' PAUL GREENGRASS The Battle Of Algiers (Pontecorvo) Battleship Potempkin (Eisenstein) Z (Costa-Gravas) Citizen Kane (Welles) Breathless (Godard) The War Game (Watkins) The Gospel According To St. Matthew (Pasolini) Kes (Loach) Bicycle Thieves (De Sica) Seven Samurai (Kurosawa) STEVE McQUEEN The Battle Of Algiers (Pontecorvo) Zero De Conduite (Vigo) La Regle Du Jeu (Renoir) Tokyo Story (Ozu) Couch (Warhol) Le Mepris (Godard) Beau Travail (Denis) Once Upon A Time In America (Leone) The Wages Of Fear (Clouzot) Do The Right Thing (Lee) MICHEL HANAVICIUS City Girl (Murnau) City Lights (Chaplin) To Be Or Not To Be (Lubitsch) Citizen Kane (Welles) The Apartment (Wilder) The Shining (Kubrick) North By Northwest (Hitchcock) The Third Man (Reed) Raging Bull (Scorsese) Snow White & The Seven Dwarfs (Hand) Choice Quote: 'Citizen Kane is the foundation, the Bible, the ABC of cinema.' DAVID O. RUSSELL It's A Wonderful Life (Capra) Chinatown (Polanski) Goodfellas (Scorsese) Vertigo (Hitchcock) Pulp Fiction (Tarantino) Raging Bull (Scorsese) Young Frankenstein (Brooks) The Discreet Charm Of The Bourgeoisie (Bunuel) The Godfather (Coppola) Blue Velvet (Lynch) Groundhog Day (Ramis) RICHARD AYOADE Persona (Bergman) Le Mepris (Godard) Raging Bull (Scorsese) Ordet (Dreyer) Barry Lyndon (Kubrick) Crimes And Misdemeanours (Allen) The Apartment (Wilder) Tokyo Story (Ozu) Make Way For Tomorrow (McCarey) Badlands (Malick) GASPAR NOÉ 2001: A Space Odyssey (Kubrick) Un Chien Andalou (Bunuel) Scorpio Rising (Anger) King Kong (Schoesdack & Cooper) Salo or The 120 Days Of Sodom (Pasolini) Eraserhead (Lynch) Angst (Kargl) Taxi Driver (Scorsese) I Am Cuba (Kalatozov) Love/Amour (Haneke) Choice Quote: '2001 is a movie I've seen more than any other in my life. My life altered when I discovered it when I was about seven in Buenos Aires. It was my first hallucinogenic experience, my great artistic turning point and also when my mother finally explained what a foetus was and how I came into the world.'

Britain's Sight & Sound magazine last week announced the results of its once-a-decade poll of critics and filmmakers to reach a consensus on the greatest movie ever made. Long story short, they opted for Alfred Hitchcock'...

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