Posted on Tuesday, August 25th, 2009 by David Chen
In this week’s /Filmcast, Dave Chen, Devindra Hardawar and Adam Quigley debate the merits of Terry Gilliam’s 12 Monkeys, reflect on the Avatar trailer/hype, try to figure out what a new director means for the Bioshock film, and lament the financial state of the entertainment industry. Special guest director Nicholas Jasenovec joins us for this episode. Nick’s film, Paper Heart, starring Charlyne Yi, is out in theaters now.
You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Join us next Monday at 10 PM EST / 7 PM PST at Slashfilm’s live page for our next broadcast.
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Quentin Tarantino recorded an hour long interview with Charlie Rose last week to promote Inglourious Basterds. Readers of the site know that I love long form interviews with good filmmakers. You can download the WMV video file of the interview right now by clicking here. The streaming version on Google Video doesn’t appear to be working yet (but I’ve also included that after the jump). And while I’m at it, why not include the rest of Tarantino’s Charlie Rose interview appearances from the last 15 years? Yes, those are available after the jump as well.
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The following introduction and interview contain moderate spoilers.
When a new film from Quentin Tarantino is released, a film as original and awash in genre-geometry as Inglourious Basterds, the post-viewing sensation that follows remains difficult to describe. In Kill Bill Vol. 1, there is a scene set inside the House of Blue Leaves in which Uma Thurman’s Bride blinks and the film switches from black and white to color. A sizable light switch is then thrown by a yakuza. In seconds, the screen turns a cool midnight blue. At that moment the aural equivalent of digital goosebumps chimes unusually through the speakers. Now everything on screen appears the same but is different, renergized and alive. I remember watching this scene and realizing that it inexplicably captures how I feel after a QT film; the difference being that the sensation of a QT film is not flicked instantaneously; it spreads over the following weeks and months as if by a potent time-release capsule. In addition, as this sensation is occuring at a personal level, Tarantino’s characters and images are similarly infiltrating and titillating the collective mind of endless media, fellow cinephiles, and general moviegoers. Pop-culture synapses connect further until a single Tarantino character is loaded into the permanent highlight reel of a respective year, for film or otherwise. It’s the lysergic, symbiotic propaganda of a true genius.
In this way, Inglourious Basterds is no different from Tarantino’s superlative works: the character that will be remembered in bold fashion is Colonel Hans Landa aka The Jew Hunter, the primary villain in Basterds. Moreover, international viewers, and American viewers especially, will come to remember their surprise introduction to the masterful talent embodying Landa, the Austrian actor Christoph Waltz. His career spanning some 30 years, primarily in theatre and television, Waltz’s performance as the erudite, calculating, and predatory Nazi colonel—a fictional Tarantino creation—is all but guaranteed a Best Supporting Actor nomination. This /Film staffer predicts “a bingo.” If a timely parallel need be drawn to exemplify the breakout performance by this veteran actor—a role that plants the seeds for a long, prosperous career—it would be that of Jackie Earle Haley in Little Children. During his whirlwind of publicity, Quentin Tarantino, doting even for Tarantino, has praised Waltz and his character with the following…
“You gave me my movie.” – to Waltz at the Cannes Film Festival, where he won Best Actor
“Hans Landa is one of the greatest characters I have ever written, and one of the greatest characters that I will ever write.”
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The Weinstein Co have pulled out a win, just when they needed it. Quentin Tarantino‘s Inglourious Basterds won this weekend at the box office, taking in an estimated $37.6 million domestically and $27.5 million internationally for a worldwide weekend total of $65.1 million. That is enough to top Kill Bill: Volume 2 as Tarantino’s highest box office opening to date. Top five studio estimates are available after the jump.
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Editor’s Note: Russ’s review contains spoilers.
The climax of Inglourious Basterds has the most terrifying image ever to appear in a Quentin Tarantino film. It is a movie vision of hell and an inversion of Holocaust ovens, flames consuming the wicked as a laughing ghostly beauty swirls in smoke. Though some of Basterds feels rushed and slightly below Tarantino’s ‘matter of fact’ visual standards — Kill Bill aside, his films aren’t known for visual splendor — that one vision is almost justification enough for the entire film.
Inglourious Basterds doesn’t even need the justification. It is ambitious, exciting, awkward, wild ride. If Basterds is more frustratingly flawed than most of Tarantino’s films, it also contains uncommonly memorable highs. Through a pair of converging storylines, the film pushes forward the ideas about storytelling, legends and propaganda that have always lurked in Tarantino’s films. And by confronting evil head-on, rather than circling it in an elliptical daze, Inglourious Basterds may be the most soulful movie the director has yet made. Read More »
The old saying goes that the greatest gift a man of considerable resources can give a friend is immortality. After basking in the intoxicating, cocksure beauty that is Inglourious Basterds, it’s clear that Quentin Tarantino has done this for his pal, the horror director Eli Roth, by casting him as Jewish-American soldier Sgt. Donny Donowitz. Proudly nicknamed The Bear Jew by his fellow Basterds, Donowitz’s preferred method of Nazi disposal involves an American baseball bat accented with the names of Jewish survivors and supporters. Minding spoilers, Donowitz is largely responsible for the most unanimous, violent act of revenge fantasy for an entire Jewish people. It’s a helluva role to have on any filmography, one sure to become storied with time; and now it’s forever on Roth’s, right above “alleged torture-porn purveyor and creator of the Hostel franchise.”
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We’ve been writing about artist Tyler Stout since I first found his “Remember the Alamo” poster at the Alamo Drafthouse. The Austin based artist frequently provides kick ass posters for the Alamo’s special events, most of which we have featured on /Film: Robocop , The Road Warrior , Spaced , Hellride , Big Trouble in Little China, The Lost Boys, The Warriors , The Thing, Blade Runner, Total Recall and The Big Lebowski.
The Alamo Drafthouse commissioned Stout to do a new poster for Quentin Tarantino‘s Inglourious Basterds, and MondoTees is selling a 24 x 36 4-color screenprint for $30. The $80 limited variant is printed with metallic inks (image after the jump), limited to 80 prints. Head on over to Mondotees to grab yours while they’re still available. Stout’s prints usually sell out within hours.
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I hate the traditional movie junket interviews, especially the ones done by the bigger name portal sites. But every once in a while MySpace will publish an interesting “Artist on Artist” interview. For those of you who don’t know, these interviews group two filmmakers, actors, writers or musicians, together to talk about their new project(s).
The latest edition features writer/director Quentin Tarantino talking with fellow filmmaker Eli Roth, who happens to star in Quentin’s new film Inglourious Basterds. The two discuss the difficulty in staying true to their own voice while evolving, how Inglourious Basterds is a great date movie for any Jewish man, why did Quentin choose Eli for Basterds, and how the Cannes Premiere felt like just another scene from the movie.
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Cool Posts From Around the Web:
Quentin Tarantino has been building universes since day one. The characters of Reservoir Dogs, Pulp Fiction and Death Proof talk about one another while eating at the same restaurants (like Big Kahuna Burger). Characters jump from one feature to another, and family relations might be mentioned in one script, but not seen on screen until another movie down the line. And at the Austin premiere of Inglourious Basterds, The Playlist learned that this film is, not surprisingly, related to True Romance, in a way that detail-oriented fans probably already suspect. Read More »
Gamervision has put together a funny movie trailer parody of Quentin Tarantino‘s Inglourious Basterds, set in the world of the Mushroom Kingdom. That’s right, a Super Mario Bros related parody.
“You haven’t seen war… until you’ve seen it through the eyes… of Shigeru Miyamoto!”
Gamers will notice that there are a couple old-school references spread through-out. And you’ve gotta love the sound effect usage. Thanks to brodiemash from dumbdrum for sending this over. Watch the trailer embedded after the jump.
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