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Inglourious Basterds (2-Disc Special Edition) [Blu-ray]

Inglourious Basterds (2-Disc Special Edition) [Blu-ray]Director: Quentin Tarantino
Actors: Brad Pitt, David Krumholtz, Mike Myers, André Penvern, Michael Bacall
Studio: Universal Studios
Category: DVD

List Price: $39.98
Buy New: $19.99
as of 11/21/2009 01:29 CST details
You Save: $19.99 (50%)



Seller: Amazon.com
Rating: 4.0 out of 5 stars 92 reviews

Format: AC-3, Color, Dolby, DTS Surround Sound, Dubbed, Special Edition, Subtitled, Widescreen
Languages: English (Subtitled), French (Subtitled), Spanish (Subtitled), English (Original Language), French (Dubbed), Spanish (Dubbed)
Rating: R (Restricted)
Media: Blu-ray
Aspect Ratio: 2.40:1
Number Of Discs: 2
Running Time: 153 Minutes

UPC: 025192015397
EAN: 0025192015397

Theatrical Release Date: 2009
Release Date: December 15, 2009  (In 24 Days)
Shipping: Eligible for FREE Super Saver Shipping
Availability: Not yet released

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Editorial Reviews:

Amazon.com
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 shot Kill Bill), and the colors and textures they serve up can be riveting, from the eerie red-hot glow of a tabletop in Adolf Hitler's den, to the creamy swirl of a Parisian pastry in which Landa parks his cigarette. 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

Description
Brad Pitt takes no prisoners in Quentin Tarantino’s high-octane WWII revenge fantasy Inglourious Basterds. As war rages in Europe, a Nazi-scalping squad of American soldiers, known to their enemy as “The Basterds,” is on a daring mission to take down the leaders of the Third Reich. Bursting with “action, hair-trigger suspense and a machine-gun spray of killer dialogue” (Peter Travers, Rolling Stone), Inglourious Basterds is “another Tarantino masterpiece” (Jake Hamilton, CBS-TV)!


Customer Reviews:
Showing reviews 1-5 of 92
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4 out of 5 stars Another hit for tarantino   November 19, 2009
Virgil Collington
Quentin tarantino continues with his eclectic style of directing in this film. A all star cast as usual that coincides with each other. Each having there own tale that in a bigger picture all coincides with one another. I felt at times the film could have used more detail but all and all a great film. Also the majority of the film is either in french or German so if your not a big fan of reading subtitles then this may not be for you. Equipped with some humor and some strong acting chops the film delivers the suspense.


3 out of 5 stars not bad overall with bad ending   November 19, 2009
Seech (TN, USA)
I kind of enjoyed the movie but the ending spoiled it for me. Good acting, pretty good plot, but how did they come up with such a weak moronic ending is not something I understand. C+ for me.



1 out of 5 stars 35 films to seek out instead of watching this garbage   November 19, 2009
Purgatorio Infinito
0 out of 14 found this review helpful

35.Tenchu! (1969, Hideo Gosha)
34. The Man Without a Map (1968, Hiroshi Teshigahara)
33. The Passion of Joan of Arc (1928, Carl Theodor Dreyer)
32. Winter Light (1962, Ingmar Bergman)
31. Le samouraï (1967, Jean-Pierre Melville)
30. Amarcord (1973, Federico Fellini)
29. Tokyo Twilight (1957, Yasujiro Ozu)
28. Red Beard (1965, Akira Kurosawa)
27. El Topo (1970, Alejandro Jodorowsky)
26. Muddy River (1981, Kôhei Oguri)
25. Le Pont du Nord (1981, Jacques Rivette)
24. Hiroshima Mon Amour (1959, Alain Resnais)
23. Stroszek (1977, Werner Herzog)
22. the Double Life of Veronique (1991, Krzysztof Kieslowski)
21. Berlin Alexanderplatz (1980, Rainer Werner Fassbinder)
20. A Brighter Summer Day (1991, Edward Yang)
19. Salò, or the 120 Days of Sodom (1975, Pier Paolo Pasolini)
18. Blade Runner (1982, Ridley Scott)
17. My Neighbor Totoro (1988, Hayao Miyazaki)
16. Fireworks (1997, Takeshi Kitano)
15. Johnny Guitar (1954, Nicholas Ray)
14. Monkey Business (1952, Howard Hawks)
13. The Cook the Thief His Wife and Her Lover (1989, Peter Greenaway)
12. Andrei Rublev (1966, Andrei Tarkovsky)
11. City Lights (1931, Charles Chaplin)
10. Nazarin (1959, Luis Buñuel)
9. A City of Sadness (1989, Hou Hsiao-Hsien)
8. Mouchette (1967, Robert Bresson)
7. When a Woman Ascends the Stairs (1960, Mikio Naruse)
6. Shoot the Piano Player (1960, Francois Truffaut)
5. the Grapes of Wrath (1940, John Ford)
4. Week End (1967, Jean-Luc Godard)
3. Napoleon (1927, Abel Gance)
2. Out 1, noli me tangere (1971, Jacques Rivette)
1. Eraserhead (1977, David Lynch)



1 out of 5 stars Flat out boring as hell   November 18, 2009
Ehh
0 out of 16 found this review helpful

To all the people who found this film brilliant, astounding.. or even a great film... you guys must have been high on cocaine or something cause this film was boring. The best part of this movie was the previews... that is it...

Don't waste your money on this garbage.



5 out of 5 stars Tarantino's Take on World War II   November 18, 2009
The Movie Man (Maywood, New Jersey USA)
"Inglourious Basterds," Quentin Tarantino's latest film, is about World War II, the SS, a band of relentless Nazi killers, movie star spies, and a German war hero, among other things. It is a rich film in many ways: plot, star power, performances, photography, film references, and dark humor. Defying traditional compartmentalization, it offers an intriguing, textured story, action, and nice helpings of satire. In short, "Inglourious Basterds" is a feast for movie lovers.
Several stories that will eventually merge unfold separately.
In Nazi-occupied France, SS officer Hans Landa (Christoph Waltz), accompanied by several soldiers, comes to a farmhouse in search of Jews who may be hiding there. He is impeccably uniformed, intimidating, yet polite, even deferential as he speaks with the nervous farmer (Denis Menochet). Landa questions the farmer slowly, quietly, yet conveys menace in every syllable.
We then switch to Lt. Aldo Raine (Brad Pitt), in charge of a unit of Jewish-American soldiers whose mission is to instill fear in the German military by brutally killing Nazis and scalping them.
Finally, we are introduced to Shosanna (Melanie Laurent), who owns and operates a Paris cinema. A German officer, Frederick Zoller (Daniel Bruhl), sees her and is immediately attracted to her, but she rebuffs his advances until she learns he is a celebrated war hero.
Tarantino divides the movie into chapters, taking time to establish characters and make them more than rehashes of previous war movie types. This is done largely through dialogue, one of Mr. Tarantino's fortes. Two scenes come to mind. In one, a group of German soldiers has been attacked by Raine's team. Many of the Germans have been killed and Raine is questioning their commanding officer about German military installations in the region. Raine's interview consists of introducing his men and their various unpleasant specialties, and playing a mind game with the officer. The goal: finding out where the Germans are entrenched. The threat: if you don't reveal this information, there will be severe consequences for you, and they aren't exactly listed in the Geneva Conventions.
A second outstanding dialogue sequence is the aforementioned conversation in the farmhouse between the SS officer and the farmer. From the outset, we mistrust the oily charm of Landa and we know his mission is more than merely asking a few questions and going on his way. As he speaks calmly in metaphors, we understand his dark intention, ruthless proficiency, and pride in how well he does his job. The cuts to the soldiers standing outside and various close-ups of the farmer amplify our dread that something awful is imminent.
This takes us to the performance by Christoph Waltz, an obscure Austrian actor who undoubtedly undertakes his greatest role ever as the multifaceted, multilingual Landa. Mr. Waltz understands this character perfectly. Landa refers to himself as a detective, a Teutonic Sherlock Holmes, though those in the area have given him the nickname "The Jew Hunter." Waltz takes his time with his dialogue, very much like a kind uncle speaking to a child. He smiles, laughs a bit, smokes a pipe, gives compliments, and is always courteous to a fault. That is, until he bares his claws and pounces. Mr. Waltz is so perfect as Landa, so memorable, that an Oscar nomination is assured. He adds tremendous stature to "Inglourious Basterds."
Brad Pitt's Raine -- a reference to the 1950's actor Aldo Ray, who appeared in many war movies -- is in charge of committing horrible acts, yet because it is wartime and his subjects are the genocidal Nazis, we like him. Pitt adopts a Tennessee drawl for Raine, which is funny, though the character itself never crosses over into caricature. None of Tarantino's characters do.
Shosanna, who becomes important in the film's third act, has a past that makes her a particularly fierce anti-Nazi, though her feelings must be suppressed until the time is exactly right to reveal them. Ms. Laurent is attractive, but her role -- despite its importance -- is not as showy as the others. Her story is a framing device, in a sense, for the entire movie.
Mr. Bruhl as Zoller is effective as the golden boy of Propaganda Minister Joseph Goebbels (Sylvester Groth). His flirtations with Shosanna are initially innocent and charming, but his persistence leads to dire complications. Diane Kruger turns in an elegant performance as Bridget von Hammersmark, darling of Third Reich cinema. Beautiful, sophisticated, talented, and widely popular in Germany, Bridget plays a crucial role in an intricate plot. A scene between Bridget and Col. Landa darkly mirrors a climactic moment in "Cinderella," in another neat Tarantino touch.
Blending the three stories smoothly showcases the artistry of Tarantino the writer. Nothing seems out of place or contrived. Mulling over the movie afterwards, the viewer may come up with some inconsistencies or flaws, but while the movie is unreeling, our attention is riveted. Tarantino has mastered the technique of placing what's important to his story in the foreground and banishing bothersome details. If you're like me, you will be surprised at the movie's finale, something I simply didn't see coming. For Tarantino's tale, however, it's a smooth, appropriate fit.
Rated R for violence and language, "Inglourious Basterds" ranks among Quentin Tarantino's best films. In style and substance, it most closely resembles "Pulp Fiction." What you have here is a Class A script with an A-list cast. As a person sensitive to overly long movies, I can tell you that the two-and-a-half-hour running time flies by. If anything, I wanted more.


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