Django Unchained - DVD, BLURAY, Digital HD

I picked up Django Unchained on Blu ray to add to my movie collection, and it is a great option if you enjoy character driven films with strong storytelling. The picture quality on Blu ray is sharp and detailed. Colors stand out, especially in outdoor scenes, and the overall presentation feels like a clear upgrade compared to standard streaming quality. Audio is also solid, with dialogue coming through clearly and the soundtrack adding a lot to the atmosphere. The film itself is engaging from start to finish. The performances are a big highlight, and the pacing keeps things interesting throughout. It is the type of movie that is easy to revisit because there are a lot of memorable scenes and moments. Compared to watching on a streaming service, having the physical copy is nice for consistent quality and not having to rely on internet connection or availability. Pros 1. Sharp and detailed Blu ray picture quality 2. Strong audio and soundtrack presentation 3. Engaging story with memorable performances 4. Good rewatch value 5. Reliable physical copy for consistent playback Cons 1. Requires a Blu ray player Overall, this is a solid addition to a movie collection. The Blu ray quality enhances the experience, and it is a film that holds up well on repeat viewings.

Django Unchained is a very gratifying movie, a unique western that almost deserves its own category as both an entertainment piece and also an educational tool. It is in a lot of ways standard Tarantino fare with the obligatory action scenes and blood but it also grows into something more. It's very much a man against the system story. But, as the tale unfolds, it goes beyond the predictable gory narrative and becomes an allegory of revenge, integrity and social ignorance. It has funny, satirical moments as well as scenes where you, like the good guys, have trouble holding in your rage at what you are seeing. All things said, it may very well be the best movie Tarantino has ever directed. In brief and without giving up too much plot information, this movie is about a slave named Django (Jamie Foxx) who was separated from his wife by his master as a form of punishment common in the Antebellum South. As we meet our soon to be hero, he is without hope and has all but given up on everything. Everything begins to change when a former dentist-turned-bounty-hunter named Dr. Schultz (Christoph Waltz) finds him and through a witty and hilarious scene frees him, formatively then, eventually, in the literal and legal way. The two quickly become friends and partners as Django learns to be a bounty hunter. Eventually, the two hatch a plan to find and free Django's wife, Broomhilda (Kerry Washington). To do so, they have to find a way to trick the maliciously evil slave owner and slave fighter Calvin Candie (Leonardo DiCaprio). Worse yet, among the various miscreants and thieves in Candie's employ is his seeming butler and slave boss Stephen (Samuel L. Jackson), who is his equal in cruelty and even sneakier and more suspicious of everyone than he is. The acting is, in all cases, superb and powerful. How these men and women brought this story to life is a true marvel and truly makes you feel like you are yourself transported back in time. The thing that I value the highest about this movie, above even the masterful performances and stunning scenery, is that it is both entertaining as an action-western but also educational. Much like the hardships of the Great Depression, World War II and the price paid by the Greatest Generation to ensure everything that Americans have today, the more years that pass under the bridge the more distant the days of slavery become. The more removed we become from the evil of those times, the more easily we as a society forget what slavery meant and what it was. While Django Unchained is not completely historically accurate, the portrayal of the way blacks were treated in those days is absolutely true to the nature of the beast. The slave owners convey a dedication to being vicious, heartless and cruel. They treat their slaves as less than property, less than people, less even than valuable livestock. The slaves live and die at the whim of these masters, whose only distinguishing skills are their talents at inflicting suffering and their deference to their own shortcomings. For instance, DiCaprio's character, Candie, is French but doesn't speak his own tongue and even gets offended when that language is brought up. While perhaps not suitable for small children, this movie definitely entertains while also educating a post-Roots generation. It reminds us to value the freedoms that we have today. Obviously, being a Tarantino movie, this isn't just a satire, comedy or revenge tale. It's definitely an action flick and, loyal to his fans, Tarantino delivers many fast-paced fight scenes, many with hysterical twists to them. For instance, I love the scene where Tarantino is abruptly blown up by dynamite. The way Tarantino always appears in his own films is reminiscent of the Great Masters, the great artists of yesteryear who had a tendency to always paint themselves into their masterpieces. To find the scene that I am talking about you just need to watch the movie - it is well worth the effort. The film is well paced, not spending too much time on Act I where Django is introduced nor on Act II where he transitions into a hero-in-training. It builds up to a climactic Act III, which is an all-out gun battle (several actually) where Django finally gets revenge on the people who hurt him, tortured his one true love and at last killed his one and only friend. Whatever else it does, this movie will please fans of both the Kill Bill films, classic westerns and also the old spaghetti westerns, which it almost seems to pay tribute to in simple terms of the number of fight scenes. As to picture and sound quality, these are near perfect like most new releases. The video was encoded perfectly in 1080p and I do not recall any pixel problems at any point. This was a great thing given the dramatic cinematography which included old west town sets, deep forests, mountains covered in snow, rolling plains, desert mountains and southern plantation houses. An epic film deserves epic b-roll and Django delivers. The extras that come with the Blu-ray release are tasteful and appropriate, adding some depth and background to the film. These include such discussions as the reimagining of spaghetti westerns and such. All around, these aspects of the release are very good. In summary, I highly recommend this movie. It educates and entertains which makes it a value to all generations and also marks a pinnacle of achievement for both its director and the actors who made it come to life. I cannot speak highly enough of the work they put into this. The best thing you can do is give it a try if you haven't already. It will make you laugh, and you may cry, but you will certainly raise your hands and cheer for the hero before it is over.

Django Unchained is a movie you will know within the first few minutes whether you will love or hate. It is set shortly before the Civil War. Christoph Waltz plays Dr. King Schultz, a former doctor turned bounty hunter seeking to buy a slave named Django (played by Jamie Foxx) to get his help in tracking three outlaw brothers who were overseers at a plantation on which Django was enslaved. In return, Schultz offers Django his freedom and agrees to help him find his wife Hildi, played by Kerry Washington who was sold away from Django as punishment. The movie is definitely inspired by the Spaghetti Westerns of the past infused with Quentin Tarantino's over-the-top brand of violence and humor. It has a strong supporting cast including Samuel L. Jackson and Leonardo DiCaprio whom both shine in their roles, as do Waltz, Foxx, and Washington. For those who get the Blu-Ray, the movie looks and sounds great in the HD format. There is a little over half an hour worth of making-of featurettes and the trailers. Unfortunately, there is no commentary track on the movie, which would have been nice to have. But, what was included was great. Overall, the movie is wonderful. It is well-written and very well-acted. Yes, it does include the n-word a lot, shows slaves being beaten, and everything. But, keep in mind, that the is set in the south during the 1800s and does not at all sugarcoat what life, and the people were like. It is not telling a "Gone WIth the Wind" type love story between members of the ruling class, the perspective from which the story is told is much different, and includes all the gory details. If that makes you uncomfortable, that may be a good thing. Certainly, Quentin Tarantino's movies are not for everyone, and this is no exception. But, if you are generally a fan of his work, this is definitely worth watching.

“What’s your name?” “Django.” “Can you spell it?” “D J A N G O. The D is silent.”

A pity that it is not in 4K this movie, it still looks great and is one of my favorites from Quentin

The comedy writer Julius Sharpe said on Twitter the other day that he just wanted to 'thank all the people who reviewed "Star Wars" on Netflix. You guys swayed me, I'll check it out.' He has a point, and it could save us all a whole lot of time. 'Django Unchained' is already a hugely popular movie, and so many, even among those who haven't seen it, are familiar by now with its fairly simple plot. So this time around, I'm only going to point out a few marked ways in which Quentin's seventh film struck me as rather unTarantinian. 'Django', of course, is still very obviously a Tarantino film. But look, for instance, at how the flash-backs are done with quick fades rather than simple cuts, and how they're shot with different filters - 'flash-back' filters. This drains them of most of the immediacy of the flash-backs of his other movies. Or, more accurately, they make them actually feel like flash-backs; the equivalents in his other films were effectively just scene transitions. He also uses music rather flamboyantly this time, often using only small parts of songs, and he uses more of it than usual. The camera is also much more active than in previous films. Look at the often flashy way he films the lengthy scene at Candie's dinner table and compare it to the tavern scene in chapter four of 'Inglourious Basterds'. In that fifteen-minute scene, the camera is resolutely static throughout, using simple two-shots, three-shots and close-ups. For my money, this helped to make the scene quite considerably more immersive and suspenseful than the one at Candie's dinner table. Compare also the realism of the nazis and peripheral characters in 'Basterds' with the slave-owners and townsfolk in 'Django', who are consistently exaggerated and frequently played for laughs. For myself, I was a bit disappointed by this decline in realism. Now, I know Tarantino did this to retain much of the feel of the Spaghetti Westerns he's always loved so much. But one of his greatest strengths has always been his talent for taking lesser genres and accentuating their best elements, while omitting their weaker ones. For most of his movies, this has included maintaining strict realism in the story's environments and supporting characters, but not so much in 'Django"s case. Because of its content, the story it tells and its central characters and performances, 'Django' is an excellent, classical tale of a film. It has a couple of plot twists that are stunning. I am told that the Samurai sword-fight sequence in 'Kill Bill Vol. 1' is probably the best ever filmed, and I have no doubt that 'Django"s revolver melee is as good a one as we're ever likely to see. But to an extent that surprised me, the movie lacks the definition of the rest of Quentin's films. I think there are three main reasons for this. First, the story is that of a journey, an adventure, and has a fairly set path its makers must follow. Tarantino's stories usually move wherever and whenever they want to, but in each place they visit, they tend strongly to sit firmly down and stay there a good while. 'Django' is more fluid and, except for Candyland, moves through its locales rather speedily. The second reason is that after 'Inglourious Basterds', his most restrained and static film yet, I believe Tarantino felt a need to have more fun making his next film, use more music, more comedy (I don't know how long it's been since I've laughed in a theatre as hard as I did when Quentin gets himself blown to smithereens), be more dynamic with his camera, and to finally fully indulge his love of Spaghetti Westerns, a desire which until now he's had to satisfy only in bits and pieces. This is all fine. But I think he set to work with less restraint than was strictly wise this time. The third reason is that his editor Sally Menke died a year or so before production began on the film. Sally had edited all of Quentin's films and had long been known as his greatest collaborator. I realize now that such a loss does have its effect on a film. And her replacement, though he was an assistant in the editing of the Kill Bill movies, may not have been an ideal choice. I point these things out because so few critics seem to have talked about them, and because together they work to produce a film with fewer marks of its director's craft and brilliance. Obviously 'Django Unchained' is a very strong and enjoyable film with numerous virtues, which delves fearlessly into a subject that's been so widely and wrongly ignored for so long that it now seems in real danger of being largely unknown to many of us. Consider the nauseating case of Arkansas Representative Jon Hubbard who, in a book published last year, wrote that 'The institution of slavery that the black race has long believed to be an abomination upon its people may actually have been a blessing in disguise', since the slaves would eventually be given full citizenship. So no harm done, I guess. Watching it, we can sense that this project was one of those dearest to its director's heart. Quentin spoke with bafflement about the unyielding reluctance of the film industry, and of society at large, to discuss or confront the terrors of thralldom. He said of his movie, 'Let this be the first stone through the window.'

Quentin Tarantino’s latest is another genre mash up, this time blending the over-the-top action of the spaghetti western with the gritty modern revenge fantasy of the blaxploitation flicks of the ‘70s. The result is a gory and wildly entertaining action movie with standout performances from the entire cast. The film opens with the iconic Luis Bacalov theme from Django, the ultraviolent Sergio Corbucci western from which this movie attributes its title, and we meet our hero. Django (Jaime Foxx) is a slave being dragged through the south after having been sold away from his wife, Broomhilda (Kerry Washington). He’s soon purchased and rescued by the charming German bounty hunter named Dr. King Schultz (Christoph Waltz), who rides around in a dentistry wagon. Schultz needs Django to identify three criminals so that he may kill them and claim the reward. Django turns out to be a natural gunfighter, and the two of them become fast friends. Their friendship leads them to attempt a dangerous rescue of Django’s wife, in a parable of the German fantasy “The Twilight of the Gods”, who has been sold to a particularly villainous slave owner named Monsieur Calvin Candie, owner of the notorious Candyland plantation. His pleasure involves forcing slaves to fight in gladiator style bare-knuckle wrestling matches. There’s a lot to like about this movie, and the first place to begin is with the acting. Every actor gives a great performance. Jaime Foxx goes through a subtle and yet very noticeable evolution from slave to badass bounty hunter. He’s sympathetic when he needs to be, and extremely dangerous when he has to be. There are several sides to the character that make him a believable an endearing protagonist for this style of movie, and you’ll find you’re on his side when he punishes the wicked. Christoph Waltz turns in yet another flawless performance, making his Dr. Schultz an extremely likeable killer. His every action and expression comes across so nuanced and genuine. The more surprising performances come from the villains. For the first time I think in any movie, Leonardo DiCaprio appears to be having fun with his character. He plays Monsieur Candie with such an obvious relish it’s difficult not to find him enticing. His despicable and grinning slave owner is nearly overshadowed by the almost unrecognizable Samuel L. Jackson, who plays his loyal family house slave, Stephen. It’s Stephen who’s shown to be the worst of the worst, which in this movie says a lot, and Jackson nails every line. In public he plays an Uncle Tom style slave for his master, but behind the scenes he’s wickedly sharp and even appears to be pulling the strings. All of these characters are aided by a terrific script, and I think that Tarantino's dialogue is benefited by the period setting, as it keeps his writing and characters focused on the story at hand. The influences of the spaghetti westerns are obvious, with the frequent quick zooms, sweeping wide shots, and beautiful cinematography. The movie looks gorgeous, showcasing vast snowcapped mountain ranges in one scene and the desolate heat of the southern plantation in the next. As to be expected in a Tarantino movie, let alone a western, there’s a ton of glorified violence in this. It's the kind of ridiculous, borderline cartoonish violence that can only suit the sensationalist take on the western genre. While the action scenes and bloody set pieces are well crafted and entertainingly shot, what’s really nice to see is the use of blood packs. It might seem a minor detail, but in far too many action movies (especially in the past decade) there has been an abundance of CG blood spray. It’s welcoming to see the old Robocop style gratuitous blood geysers that can only come from practical effects. The violence is well over-the-top, but this plays into the blaxploitation aspect of the film along with the often contemporary selection of songs for the soundtrack, which reinforces the crazed and ridiculous take on the setting. All of the villains, who in this case are white slave owners, are depicted as disgusting, inhuman, sadistic degenerates who deserve everything that’s coming to them by the inevitably gory end. It’s actually a little refreshing to see the American slaver owner dehumanized in such a way, and it more than suits the tone of the film. Django Unchained is hardly a movie that stresses some kind of deeper meaning or offers analysis on slavery and the morals behind it. It paints a very stark black and white picture for the sake of pure entertainment value. This is a movie meant to thrill and excite you, making every shot in every scene interesting and captivating without drawing too much attention to itself. It’s the best kind of tribute to both of the genres there can be, and it could comfortably fit into a collection of either. It’s pure bloody fun at its finest.

Quentin Tarantino is one of the greatest director’s working in the movie industry. Django Unchained manages to tell a great story, have a big heart, show the absolute inhumanity and brutality of slavery in pre-civil war United States, be brutally violent, and hysterically funny all at the same time. The combination of all those elements while paying homage to spaghetti westerns and 70′s style film making with Tarantino’s uniquely modern flair is nothing short of amazing. Django Unchained is like the most spectacular house of cards you have ever seen, one slight miscalculation could topple the entire thing but instead it stands strong and is a must see for any movie lover. Django (Jamie Foxx) is a slave in 1858 America. Early on in the film Django crosses paths with Dr. King Schultz (Christoph Waltz). Schultz is an out of practice dentist turned bounty hunter who originally recruits Django’s help for a single job. Schultz makes it clear he despises slavery and quickly forms a bond with Django. Schultz takes an interest in Django’s goal to rescue his wife, Broomhilda (Kerry Washington), who was cruelly separated from him. Django and Schultz spend a winter together hunting bounties and making a good deal of money. Django takes to the bounty hunting trade and gun slinging naturally. Schultz discovers that Broomhilda is being held at an infamously cruel plantation known as Candie-Land under the slaver Calvin Candie (Leonardo DiCaprio). Django Unchained is a fictional story but seems to take place in a very real world. The brutality and widespread of slavery in the early United States is crystal clear all throughout the movie. Every actor in the film does a flawless job of getting the audience up to speed with the general mentality and racial structures in the time period. The abundant racism and cruelty toward the slaves is, at times, almost difficult to watch but it is never overdone or unnecessary. A lot of prejudgements and accusations have been thrown around because of the sensitive material and racist elements. This movie is in no way racist. It tells a story during one of America’s more shameful moments and does so without pulling its punches. The slavery and racist aspect of Django Unchained is also only one aspect of a phenomenal film. On top of the brutal realism and historical aspects is a story about a man willing to do anything for the love of his love. Intertwined to the great, though somewhat unconventional love story, is a fantastic story about two people who could not be anymore different finding common ground and forming a strong friendship. Dress all these elements up with some hilarious moments and amazing action sequences and Tarantino may have produced his best work yet, that’s really saying something. Jamie Foxx plays the titular hero in this Western-action-homage. Soft spoken and closed off for the majority of the movie Foxx plays Django from the inside out. Much of the characters understanding and development is told in his face, and especially his eyes. It is completely believable that Django lived a hard life and the audience never has reason to question the actors commitment to the role. There is never doubt that Django lived through his past traumas or that his blood wasn’t actually boiling during some very tense situations. Foxx is an actor who could have easily made a career out of soft roles and phoned in performances but he is constantly trying new things and succeeding immensely. Christoph Waltz first worked with Tarantino in 2009′s Inglorious Basterds. This was also his introduction to the majority of the Hollywood audience. Waltz absolutely stole the movie and outperformed all of his costars despite being virtually unknown to American audiences and playing the main antagonist. Waltz’s performance is equally impressive in Django, he is quick witted and very funny. Waltz as an actor has an air and charm about him that says he knows something that those around him don’t. He carries scenes effortlessly whether he is merely sitting at a table in dialogue or running a wild west type shoot-out. The dialogue he was given as the Dentist turned Bounty Hunter is perfect and Waltz sells the delivery of every single line, no matter how small it may seem. The only actor who may have out-done him ever so slightly is DiCaprio. DiCaprio has been one of the movie industry’s greatest actors since he was a kid. Constantly blowing away expectations and steering clear of being type cast of thrown into cash-grab quality projects it isn’t a surprise DiCaprio did well. What was surprising is that the actor took the role at all. The role was absolutely a good one but Calvin Candie is a straight up monster. DiCaprio has never played a character so repulsive and evil down to his core. Another complete shock in casting was Samuel L. Jackson as Stephen. Stephen is essentially Candie’s estate manager and top tier slave. The two banter as equals and Stephen seems to hold a power over Candie’s other slaves. Jackson who has proven in the past to be a solid actor lately has been a little lazy in many parts he has played. Choosing to simply play himself in a costume rather than really challenge himself. In Django, Jackson really pulled out all the stops along with the rest of the cast and did something no one has seen him do before. Django is shot so beautifully. In true Western fashion there are plenty of sprawling scenery shots and very nice establishing shots. The camera is never irritating and shots are set up so well that the audience can be totally immersed in the rest of the movie. The most amazing stylistic approach to how this was shot is that despite it being a top quality gorgeous movie it never loses its “Tarantino” flair. Fast zooms, interesting angles, and almost a 70s style feel are applied all throughout the movie in a perfect balance with new film trends and technologies. The soundtrack is equally good and equally as diverse. Music audience’s would expect in a mid 1800s set movie is mixed in with classic rock, easy listening and modern rap. Combining the elements with the flawless sets, props and wardrobes must have been a tough mixture to pull off and Tarantino does it expertly. From sitdown-shutup.net Django Unchained is a movie with a little bit of everything. Quality cinematography, acting, directing and writing all come together to form a perfect historical action movie with a huge heart. This is certainly unlike anything Quentin Tarantino has ever done while still having all the familiarities Tarantino fans have grown to love. It is safe to say this is the director’s best work despite his very impressive resume. Hopefully Django is a sign of more great things to come not only from the director but also from the entire cast. More movies need to be as bold and more actors need to tackle roles they are not as used to being put in. The challenge clearly produces astounding results. It is no question why Django Unchained is a 2012 Best Picture nomination.

Quentin Tarantino is firing on all cylinders with this blistering western. Snappy dialogue, great characters and a cool soundtrack all help to make this one of Tarantino's best genre bending films. Django is a slave who is desperate to rescue his wife. A chance meeting with Dr King Shultz sets him on his path of retribution. As bounty Hunters they travel around following wanted posters and collecting their rewards whilst edging closer to Django's ultimate target. Christoph Waltz is simply stunning in the film and is fully deserving of his second Oscar. King Shultz surpasses his Lang in Inglorious Basterds. He is funny, scary, soulful and witty all at once. The only disservice is that he is classed as a supporting role when he practically carries the film. Waltz is backed up by some other superb turns. Leonardo Di Caprio is, as always, a joy to watch. He has real presence and imbues his character with a simmering hatred that is felt in every scene. It is also refreshing to see Samuel L Jackson get a role that requires some actual heart felt acting. In a character that requires him to be conniving, untrustworthy and slippery, he succeeds on every level and deserves just as much credit in a supporting roil as Waltz. It also makes a change to see him without and eye patch! But all this is moot without mentioning Django himself. Jamie Foxx gives it his all and creates a hero really worth rooting for. He has the right level of emotion and action prowess to balance the story in a very understated and un-showy role. And the Oscar for best screenplay goes too..... none other than Tarantino for his trademark zippy, snappy dialogue. He is on superb form and even the slightly saggier moments of the film crackle with whip smart conversations. As a result the film is often quite funny and the characters all feel three dimensional. Bemoaning the violence is a pointless exercise. This is Tarantino, if you are watching then surely you know what to expect. Overblown, gratuitous and bloody, the violence is just a small part of this exceptional film. A pounding, modern soundtrack and a great story also help to make this one of Tarantino's best. Well worth watching.

El formato BluRay hace justicia a una de las mejores películas de Quentin Tarantino, y a su vez, uno de los mejores Westerns "modernos" que se han realizado. Tarantino crea en este "Remake" de Django una cinta sin fisuras con uno de los westerns más frescos que se han realizado ultimamente. Como siempre al estilo Tarantino está lleno de referencias a los clásicos Spaguetti Westerns que hicieron famoso este género cinematográfico. La película cuenta además con dos grandes actuaciones de Leonardo DiCaprio y el que para mi es hoy en día uno de los mejores actores de la actualidad Christoph Waltz. Un apunte a destacar sería el visionado de la película en Versión Original para notar los varios acentos que se utilizan en esta película para diferenciar los tipos del sur, los del norte así como los exclavos con sus dialectos propios que en la traducción al castellano nos llevan a un lenguaje que nos suena del personaje Cletus Spuckler de la serie de TV Los Simpsons. En resumen es una película mas que necesaria en la videoteca de cualquier amante del cine.

C'è ben poco da fare, Tarantino gira come pochi al mondo. Gustare una delle sue opere e come salire su un ottovolante che poi impazzisce, tra omaggi e citazioni, improvvise esplosioni di violenza grafica e dialoghi fiume che rasentano il genio assoluto (e ti chiedi "Ma come diavolo fara?") Più che il western all'italiana (si, c'è, per carità, e non solo per gli straordinari omaggi musicali micalizzibacaloviani), sembra che Quentin abbia voluto rifare una specie di Radici in salsa pulp e gonfiandolo con prelibatezze ultrasplatter (le sparatorie sono veri e propri geyser di sangue, straordinarie , fulminanti, qualcosa che azzera tutto quello fatto fin'ora-e meno grottesco del massacro alla katana di Kill Bill-. Altro che mexican-stand-off, da mandare in pensione John Woo e company), momenti pulp-comedy (il discorso degli incappucciati, capitanati da un Don Johnson con voce da idiota, non ha rivali. Quintessenza del genio tarantiniano, dove schernisce un gruppo di razzisti-e il razzismo in generale- imbecilli col cervello di un poppante. Forse la migliore sequenza antirazzista mai girata, dove Quentin la riassume in poche battute, ma assolutamente geniali. Le taglie che risolvono a Weltz e Foxx situazioni a dir poco precarie), momenti assoluti di gran cinema (l'arrivo a Candyland, poi, e un pezzo di cinema inarrivabile), dimore vittoriane che diventano veri e propri mattatoi, flahback girati come se fosse un horror grindhouse (la marchiatura e la fustigazione di Brumhilda), lampi feroci che omaggiano I Guerrieri della palude silenziosa (per me già di culto un Tom Savini in versione zozzo redneck-quasi irriconoscibile-che tiene al guinzaglio due cagnacci lerci-e non può venire in mente il John Steiner di Mannaja-che sbraneranno lo schiavo Dartagnan, finito su un albero stile Ciccio Igrassia in Amarcord, e nella fetida combriccola pure Zoe Bell con look stile ninja che rimanda a Kill Bill), un incipt che meriterebbe di saperlo a memoria (l'arrivo di Waltz su un carro da dentista con il molare che dondola, la fulminante sparatoria che prende in pieno il cavallo di James Russo facendolo a pezzi, la vendetta degli schiavi neri, in mezzo a un bosco da horror-gotico), la tortura inflitta a Django/Foxx a testa in giù, con coltello arroventato sugli zebedei mi ha messo addosso più di un brivido A volte mi pareva che Quentin, furbescamente e come solo lui sa fare, avesse preso come pretesto l'western italiano, per fare una specie di remake di Mandingo (i due mandingo che lottano fino alla morte nel salone di Di Caprio ne sono un fenomenale omaggio), ma Quentin e un diavolo, inventa, omaggia, mischia, ti spiazza, ti destabilizza, come il gioco delle matrioske Tutti i dialoghi sono di una forza dirompente (straordinari quelli di Di Caprio a tavola col teschio, delirante teoria sul servilismo dei negri, e assolutamente geniale la battuta sul nomignolo di uno degli schiavi "Eschimo Joe"), che sembra di vivere in prima persona , lì, su quella tavolata da profondo sud Tarantino che rifà se stesso? Ma non scherziamo, Tarantino e Tarantino, più unico che raro. Sembra un film di Robert Rodriguez? Ma non diciamo fesserie, pur amando "mucho gusto", non si avvicina manco al genio esposivio di Quentin (e la splatter/sparatoria e qualcosa di immaginifico mai visto prima, altrochè) Quentin, poi, tocca le corde della spietatezza (per il sottoscritto, una delle scene più dure e insostenibili, e l'umiliazione che Di Caprio, sempre a tavola, fa subire a Brumhilda facendole scoprire la schiena con i segni delle frustate davanti agli ospiti-e mi veniva in mente Salò-o la sequenza del pozzo, pugno allo stomaco che sì, pure a me a ricordato la straziante e poetica sequenza fulciana/bolkiana di Non si sevizia un paperino) Il sangue sgorga, impazza, imbratta, liquami che sprizzano a mo di fontana che manco Street Trash, corpi che volano (letteralmente) da una stanza all'altra (gran lavoro dell'immenso Greg Nicotero), sangue di schiavista che sporca fiori immacolati, Tarantino (ingrassato parecchio) che esplode su dinamite leoniana come fosse un cartoon di Tex Avery. La tortura delle Iene, momenti che toccano il cuore come in Jackie Brown e Kill Bill vol 2, omaggi infino a Ingmar Bergman e la sua "lanterna magica" (tra i tanti), hi-pop (e ci stà), la bellissima canzone morriconiana cantata da Elisa, Waltz che parla di Dumas con Di Caprio, insomma, ogni momento rasenta il cult assoluto Attorialmente, una spanna sopra tutti, c'è Di Caprio, quintessenza del personaggio tarantiniano tout-court. Gustoso il cameo di Bruce Dern nel flashback, mentre non ho riconosciuto-ahimè- James Remar e Don Stroud. Se proprio devo muovere delle critiche a Quentin sono: L'inutile cameo di Franco Nero (che mi pareva anche un pò spaesato), in una citazione un pò forzata La chiusa finale un pò troppo pagliaccesca, con Django/Foxx che fa danzare il suo cavallo davanti ad una divertita Brumhilda sotto un cielo spielberghianamente stellato Il resto e puro, assoluto cinema Grazie Quentin.. Inutile soffermarsi sulla qualità del dvd Sony, semplicemente eccezzionale!

Two reasons to watch this movie. One is Tarantino himself, who has the mastery of portraying violence in artistic form. You won't find violence offensive but rather appreciate how Tarantino presents it. Second is Christopher Waltz, who is an actor to watch. He essays his role with such an ease and charm that I guarantee this film would not have been half its worth.

Superbe film