Django Unchained starring Jamie Foxx, Christoph Waltz, Samuel L. Jackson, Leonardo DiCaprio and Kerry Washington premiered in theaters on Christmas Day! An action movie written and directed by Quentin Tarantino who is known for his previous films namely: Pulp Fiction, Inglorious Basterds and Kill Bill 1 and 2. Django Unchained may seem like a normal cowboy film but this new western genre definitely packs a punch and will be a new experience for movie goers. The film setting is in the pre-Civil war of the South instead of the Old West which is one of the new things in this Tarantino movie. So check out the movie review on Django Unchained below:
“Tarantino Unchains Yet Another Jaw-Dropping Film
The safest thing one could say about “Django Unchained” is that it finds Quentin Tarantino hurtling over the top yet again by juxtaposing the horrors of slavery with an absurdist, horse-opera buffa plot that quotes from all sorts of movies, including his own, with special emphasis on spaghetti westerns. But the film doesn’t play it safe, so neither will I. Instead, I’ll say that it finds Mr. Tarantino perched improbably but securely on the top of a production that’s wildly extravagant, ferociously violent, ludicrously lurid and outrageously entertaining, yet also, remarkably, very much about the pernicious lunacy of racism and, yes, slavery’s singular horrors.
Jamie Foxx is Django, a slave on a Southern chain gang two years before the Civil War. At first Django doesn’t have much to do but be chained and smolder with rage. (Eventually that changes with a vengeance when revenge becomes the pivot of the plot.) The star of the movie’s early stretches is Christoph Waltz as Dr. King Schultz, a bounty hunter who travels the country in the guise of a dentist, which he once was—his wagon is surmounted by a charmingly ridiculous bobbletooth—until he figured out how to make big bucks. Like slavery, Schultz says, bounty hunting “is a flesh-for-cash business.”
It should be acknowledged that Mr. Waltz is doing a tone-for-tone reprise of Col. Hans Landa, the monstrous Nazi he played in Mr. Tarantino’s “Inglorious Basterds.” Just as Landa did, the gleefully predatory Schultz deploys lofty language in presenting himself as the soul of sweet reason. He’s courtly and cheerful, except when he’s being cheerfully bestial. Repetition may be the most shameless form of self-flattery, but it’s still good to see Mr. Waltz doing his act again; his elegantly modulated whimsy is one of the wonders of the acting world.
What turns an almost-one-man show into an increasingly tense trackdown-and-revenge thriller is a bargain struck between bounty hunter and slave. Schultz will buy Django, unchain him and eventually set him free if Django, using his hard-won knowledge of the countryside and its denizens, will become Schultz’s deputy and help him find three particularly murderous, and potentially lucrative, brothers.”
The deal takes the two hunters to a notorious plantation called Candyland, and takes the story into a wickedly astute parody of antebellum drama, with all of its lace and grace and happy slaves.”
Click here to read the rest of the article at The Wall Street Journal
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