Product Description
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The new film from director Quentin Tarantino, Inglourious
Basterds, begins in German-occupied France, where Soshanna
Dreyfus (Melanie Laurent) witnesses the execution of her family
at the hand of Nazi Colonel Hans Landa (Christoph Waltz).
Soshanna narrowly escapes and flees to Paris, where she forges a
new identity as the owner and operator of a cinema. Elsewhere in
Europe, Lieutenant Aldo Raine (Brad Pitt) organises a group of
Jewish soldiers to engage in targeted acts of retribution. Known
to their enemies as "The Basterds," Raine's squad joins German
actress and undercover agent Bridget Von Hammersmark (Diane
Kruger) on a mission to take down the leaders of the Third Reich.
es converge under a cinema marquee, where Soshanna is poised
to carry out a revenge plan of her own...
DVD Extras:
Extended & Alternated Scenes
* Lunch with Goebbels – Extended Version (7 mins)
* La Lousianne Card Game – Extended Version (2 mins)
* Nation’s Pride Begins – Alternate Version (2 mins)
Nation’s Pride – Full Feature (6 mins)
Trailers
* Teaser (1:43)
* Domestic Trailer (2:21)
* International Trailer (2:07)
* Japanese Trailer (1:15)
.co.uk Review
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Although Quentin Tarantino has cherished Enzo G. Castellari's
1978 "macaroni" war flick The Inglorious Bastards for most of his
film-geek life, his own Inglourious Basterds is no remake.
Instead, as hinted by the Tarantino-esque misspelling, this is a
lunatic fantasia of WWII, a brazen re-imagining of both history
and the behind-enemy-lines war film subgenre. There's a Dirty
Not-Quite-Dozen of mostly Jewish commandos, led by a Tennessee
good ol' boy named Aldo Raine (Brad Pitt) who reckons each
warrior owes him one hundred Nazi scalps--and he means that
literally. Even as Raine's band strikes terror into the Nazi
occupiers of France, a diabolically smart and self-assured German
officer named Landa (Christoph Waltz) is busy validating his own
legend as "The Jew Hunter." Along the way, he wipes out the rural
family of a grave young girl (Melanie Laurent) who will reappear
years later in Paris, dreaming of vengeance on an epic scale.
Now, this isn't one more big-screen comic book. As the masterly
opening sequence reaffirms, Tarantino is a true filmmaker, with a
deep respect for the integrity of screen space and the tension
that can accumulate in contemplating two men seated at a table
having a polite conversation. IB reunites QT with cinematographer
Robert Richardson (who Kill Bill), and the colors and
textures they serve up can be riveting, from the eerie red-hot
glow of a op in Adolf Hitler's den, to the creamy swirl of
a Parisian pastry in which Landa parks his . The action
has been divided, Pulp Fiction-like, into five chapters, each
featuring at least one spellbinding set-piece. It's testimony to
the integrity we mentioned that Tarantino can lock in the
ferocious suspense of a scene for minutes on end, then explode
the situation almost faster than the eye and ear can register,
and then take the rest of the sequence to a new, wholly
unanticipated level within seconds.
Again, be warned: This is not your "Greatest Generation," Saving
Private Ryan WWII. The sadism of Raine and his boys can be as
unsavory as the Nazi variety; Tarantino's latest cinematic
protégé, Eli (director of Hostel) Roth, is aptly cast as a
self-styled "golem" fond of pulping Nazis with a baseball bat.
But get past that, and the sometimes disconcerting shifts to
another location and another set of characters, and the movie
should gather you up like a growing floodtide. Tarantino told the
Cannes Film Festival audience that he wanted to show "Adolf
Hitler defeated by cinema." Cinema wins. --Richard T. Jameson