Django Unchained Review

 

Quentin Tarantino has released several successful films and is a well-recognized director. Personally, I believe he is one of the most innovative directors of today. Through his films, it’s apparent that he has a very personal and unique style. It’s difficult to classify, but the word that comes to mind is extremities, particularly with violence. You can count on Tarantino to take things to the absolute limit. Django doesn’t disappoint: countless slaughters and enormous explosions followed by mounds of pooling, splattered blood contrasted on a field of cotton.

There are moments of merciless wipeouts which seem ridiculous and impossible. These moments, along with the perfect blend of blunt realism and well-written characters, makes it work. The characters were intriguing: well-developed and believable, yet unpredictable. Set up in an atmosphere and circumstances we understand, Tarantino’s extremes give you the things you want to see in a movie—what you don’t see or experience in reality.

Django Unchained was so much more than a bounty hunter on a mission to rescue his wife.

Tarantino always manages to capture a perfect balance of intense drama and mood-lightening comedy.

Jokes were well-developed: there was good build-up, and I was often laughing out loud. But no joke felt like it was squeezed too far that it lost its humour.

Tarantino’s previous big films include Pulp Fiction, Reservoir Dogs, and Kill Bill all with plots that revolve around things like mobsters, thieves, drugs, criminals, and redemption. Inglorious Basterds seemed to be taking a step towards a larger audience for Tarantino, incorporating more mainstream content. Just with the plot, which revolves around World War II, there is the intrigue of a wider audience because of knowledge on the subject.

Perfecting what he started with Inglorious Basterds, Django Unchained feels like a much more modernized version of Tarantino’s works, a large aspect of it being the perfectly timed contemporary soundtrack.

On a technical note, something that stood out to me was the extremely well placed camera angles. And every transition came into another strategically placed shot. Every frame had meaning and there was careful use of focus which was often changing between deep and shallow, but it was always done in a smooth manner (despite Tarantino’s hard cuts) so that it wasn’t irritating.

All of the acting was brilliant, and every single actor’s performance is something to look forward to.

Christoph Waltz was great right from the first second we heard his voice, and Jamie Foxx just killed it as the lead. Despite being a big fan of DiCaprio, I wasn’t sure how I was going to like DiCaprio in a Tarantino film. It just didn’t seem to fit, and perhaps in an older Tarantino film, it wouldn’t have worked… but it did. And I loved it. On a side-note, a classmate who will remain unnamed, told me that apparently at an early screening of the film, Tarantino mentioned that he didn’t like DiCaprio in the film. Also, Samuel L Jackson’s character is something to look forward to. This is now one of my favourite Samuel L Jackson roles.

I’m so happy to see its best screenplay 2012 (Golden Globes) nomination because out of all the listed titles, Tarantino deserves the win.

 

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