Django Unchained Review

RYAN: This is the latest from writer/director Quentin Tarantino and it’s so consistent with his brand of film making, from the music, to the pacing, style, editing, zooms and then the bloodshed.

ERIN: Yeah the classic Tarantino. 

RYAN: And I loved every minute of it.

ERIN: I did too.  This is the first of his films that I actually had to look away from the screen a few times.  It was gorier than I’ve seen him do. 

RYAN: Well if you’ve seen the Kill Bill movies, Inglourious Basterds, Pulp Fiction… you have an idea.  He does blood porn.  It’s almost like just throwing buckets of red paint at the wall.

ERIN: The blood factor was almost laughable. 

RYAN: It’s so bloody that it’s fake.  Bodies don’t bleed that way, like explosive blood, I don’t think.  It’ over the top, splashy blood.

 

RYAN: But it’s to be expected with Quentin.

ERIN: I love that he used Christoph Waltz again.  I remember him from Inglourious Basterds.

RYAN: He won the Oscar for that movie.  He won’t for this one but it’s the perfect role for him.  Quentin wrote it specifically for him.  He’s still a ruthless killer.

ERIN: But he has a heart.

RYAN: I loved Leo DiCaprio!  The hair, the makeup, his attitude, he was fantastic as a baddie.

ERIN: It was perfect for him.  But I have to let you know I’m not a big fan of Jamie Foxx.  But I enjoyed him in this film.

RYAN: I agree.  I’m also not a huge fan of his Jaden Smith-sized ego but he is fantastic in this role.

ERIN: I bought him for the first time.

RYAN: He was quiet in the right moments.  There wasn’t too much bravura to his performance, until called for.

ERIN: Normally he overacts.

RYAN: And I looove Kerry Washington in anything she does and she’s so different here.  You’ve never seen her like this.  She creates such a specific character without much dialogue – it’s in her eyes and her posture and everything.  I wanted more of her.

ERIN: Me too.  Quentin usually has a lead woman in his movies and he didn’t really do that here.

RYAN: Oh good point.  It’s really Jamie and Christoph’s movie.  And there’s a cameo by Don Johnson that’s hilarious and good. He looks kinda like Colonel Sanders from Kentucky Fried Chicken.

ERIN: [laughs’ Yes.

RYAN: And this movie sort of does for slavery what Inglourious Basterds did for the Nazis.  And it’s cool what Quentin’s doing – bringing these vengeful stories to life.  They’re fantasies of how things could have been.

ERIN: It’s part of his brilliance.  He takes something nobody’s that comfortable talking about and makes it interesting; and you love it and hate it at the same time.

RYAN: It doesn’t matter what is or isn’t PC.  Quentin makes everything work, turning history on it’s head to make a statement.  And it is art.

ERIN: It reminds me of Deliverance in that you’re offended yet intrigued.

RYAN: Much of Quentin’s work is controversial but riveting.  I remember turning to you at one point in this movie because it’s, like, beyond escapism.  The movie draws you in so intensely at some points – scenes written so suspensefully, that time literally stops while you’re watching the movie, you’re just so focused on the scene.  I rarely ever feel that in a movie.

ERIN: I had a couple edge of my seat, heart-pounding, “oh no, what is going to happen here” moments too.

RYAN: And with Quentin, you just know it’s a matter of time till things hit the fan… you’re waiting for it.  And there are some surprises.  But I will say the ending was a little similar to that of Inglousious Basterds.  I don’t want to say specifically why and give anything away.

ERIN: Yeah that was a little derivative.

RYAN: But he is brilliant.

ERIN: He is.

RYAN: And I love how he uses music.  He’s very creative in his soundtrack, punctuating emotional moments. 

— BOTTOM LINE —
 
ERIN: It’s classic Quentin Tarantino.  You’ll love it, be offended and grossed out.

RYAN: It’s long.  I could have cut twenty minutes out of it but it’s another Quentin insta-classic.

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