Rated: 18 for strong graphic violence, language and brief sexuality

Inglourious Basterds begins in German-occupied France, where Shosanna Dreyfus (Mélanie Laurent) witnesses the execution of her family at the hand of Nazi Colonel Hans Landa (Christoph Waltz). Shosanna 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) organizes a group of Jewish soldiers to engage in targeted acts of retribution. Known to their enemy 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. Fates converge under a cinema marquee, where Shosanna is poised to carry out a revenge plan of her own... --© Weinstein Co. and Universal Pictures

I was so looking forward to this movie, feeling very disappointed with Quentin Tarantino’s last few efforts. Finally seeing some new major league actors in a Tarantino flick was a refreshing thought. A decent enough movie just over hyped, if anything a bit of a let down in terms of Tarantino’s style. Nothing special here but worth the watch.....

Dude this movie lies, It has very little to do with the inglorious bastards.

The Bastards scenes are AWSOME with the bat and carving hte swastika into the guys forheads, but they are barely in it, (1 secne at the beging 1 in the middle and 1 at the end) plus the opening scene the 20 minutes conversation about a rat and milk was boring and pointless.

I also liked how they portrayed Hittler a total narsacist. it was way to drawn out needed many scences cut otehrwise It woulda rocked is the Batards were in it more, overall I give this 3/5

ok, i get funny looks when i say this, but this film kinda bored me. i love tarantino, i would put pupl ficton, resevoir dogs, and jackie brown 3 of my top 5 of all time films. this film, however funny and action filled, doesnt move in the way tarantino usually operates. the story line is very predictable, and is built to be so. must try harder quinten! lol

At a running time of 153 minutes, "Inglourious Basterds" is one of those rare movies that really takes its time. There's no big rush to get from one big action set piece to the next which has been the case with just every movie that gets released in the summer. Even while The Weinstein Company had to work with Universal...


Having not been that impressed with Quentin Tarintinos last few movies I wasn't sure if I was going to like his latest, despite everything good that I'd heard about it. This is probably his best film for a while though. Infact, for me, its his best since "Pulp fiction."

Featuring a welcome complicated plot to take out...

The acting is good and the directing is good, but I felt this was mis represented, it says it's about a group of soldiers killing nazis ruthlessly, but they are barely in the film only 3 scenes (seriously only 3) about 85% of the film is about this chick reparing for a movie premier. And most of the dialogue is pointless banter, like hte conversation about King Kon, and the conversation about a glass of milk. Overall I felt Quentin had a bad editore for this one, it's 2 1/2 hours long and only has about 1 1/2 hours worth fo story, he really needed to trim the fat from this movie. I found unbearably slow. They did portray Hittler very well as a Narsacist. Brad Pitt dose a tremendously awsome job. Parts of this movie were funny some were interesting but overall due to the slowness and mis representation I can't give this a good score.

Inglourious Basterds is a film about World War II that you haven't seen before. It's a fairy tale, a product of imagination, a cruel fantasy and a morality play, all in one.

I'm certainly going to watch it again at least once as Tarantino movies always taste better the second time. And this is best Tarantino in years!

From the title, ripped off from a 1978 B-movie, to the Western sound of the Ennio Morricone opening music to the key location, a movie theater, the film embeds Tarantino’s love of the movies. The deep, rich colors of 35mm film provide tactile pleasure. A character at the beginning and end, not seen in between, brings the story full circle. The “basterds” themselves, savage fighters dropped behind Nazi lines, are an unmistakable nod to the Dirty Dozen

That's what I thought, when I heard about the cast of Inglorious Basterds. And I'm both from Germany and into movies.

That guy is older than 50 and so far he almost only played in mediocre TV series - and even there he didn't play the main parts. Obviously nobody ever noticed, what he's capable of. Now, thanks to QT, he got one shot to change that - and - let's put it this way - that was a bingo! He is the living proof of what a great caster Tarrantino is.

By the way: I think it's a great privilege to watch the movie as a German - being able to understand everything. And the German dialog is written almost as good as the English.

Now I could repeat, what many others have written here before. I'll put it short: Finally, QT is back.

Unbelievable script... even if their a few overrated actors in it. The filming techniques are just great... it's a veritable "Course on Classic Cinematography." ;)
Techniques are used... like an homage to great film makers, such as Alfred Hitchcock, I'd call it a must see, for any young, aspiring film students.
If you love cinema( and whether you're Jewish or not), the story is very satisfying. and the many perspectives are displayed within the story line itself.
At the same time... I think, with more masterful actors in certain roles, This could have actually been one of the "Greats" in the classical sense,instead of just being a great conglomeration of Homages. ;)
I give it a 4/5. Enjoy! ;)

It just goes to show how wrong you can be. I had not expected to like this film. I was disappointed by both the Kill Bill films (although i preferred the second) and Death Proof (although it was better in the shorter cut of the double-bill release). I love Reservoir Dogs, admire Pulp Fiction and think that Jackie Brown is Tarantino's most mature piece of film-making - technically his most superior - including the last great performance elicited from Robert De Niro. Since then it seems to me while his films have been okay (i haven't hated them) he has been treading water in referential, reverential, self-indulgent juvenilia.

Then i read the script last year for Inglourious Basterds - and i hated it! Sure it had some typical QT flourishes and the opening scene was undeniably powerful. There were a couple of great characters. But on page it was more juvenile rubbish, largely ruined by the largess of the uninteresting Basterds of the title. It made me seriously contemplate not seeing the film. The trailers did nothing to convince me. I only changed by mind when i had the opportunity to see the film with a Tarantino Q&A following in London. I figured it would be worth enduring to hear him in Q&A as i know from interviews how entertaining he can be in person.

So little was i prepared for the sheer exuberant fun and brilliance of Inglourious Basterds.

Easily Mr Tarantino's best work since Jackie Brown it is a triumph.

Yes the references are there but they do not interfere with the story, they are not the driving force. Yes Eli Roth is stunt casting but he works fine, with little to do but look aggressive, and does nothing to hurt the film as i had feared. While i admired Mr Tarantino for using stuntwoman Zoe Bell as herself in Death Proof in order to amp-up the exhilaration of the major stunt scene her lack of any acting ability in a key role was a problem for the film. The same could be said of Tarantino's own appearances in several films, especially Robert Rodriguez's From Dusk Till Dawn, which Tarantino wrote.

What really makes this work is how BIG it is. The spaghetti western vibe to much of the style, dialogue and performances is wonderfully over the top without descending too far into the cartoon quality of Kill Bill. The violence is so big. The audacity so big. Brad Pitt is so big! In the trailers the Hitler moment and Pitt's performance bothered me but in the context of the film they are hilarious. Pitt is actually brilliant here, exactly what he needs to be. He is Mifune's blustering samurai in Yojimbo, he is Robards Cheyenne from Once Upon a Time in the West, there is a very James Coburn vibe to him, and of course a suitably Lee Marvin edge.

Christoph Waltz (who i did not previously known) and Melanie Laurent (who i first noticed in a brilliant French-language British short film by Sean Ellis) are sensational and i expect to see both used a lot more in the future. Tarantino has clearly not lost his eye for casting, which seemed to desert him in Death Proof. Waltz is equally large in his performance. Chilling, yet theatrical. He is Fonda from OUATITW, Van Cleef from Good, The Bad & the Ugly. And Laurent is suitably Cardinale innocence but tough, a fighter. They both dazzle here.

That every member of the cast gets the fun to be had from what they are doing while not indulging themselves in just having fun and trying to get laughs helps tremendously. The laughs - and there are loads - come organically. Only Mike Myers comes close to tipping the wink and pushing it too far but his scene is reigned in just enough - with the help of a fantastic Michael Fassbender who seems pulled directly from the mold of Attenborough's Great Escape leader.

All the actors shine and Tarantino throws in wonderful flourishes, but ones that work with the story. The introduction of Schweiger's Hugo Stiglitz is a riot. After a sensational slow-burn opening and a glorious intro to those inglourious Basterds the pace never lets up and over two and half hours flies by.

It also looks beautiful, marking this as a return to real film-making rather than just self-indulgent silliness. The musical choices, as always, are inspired from Morricone on.

The film is audacious and hilarious. After a summer when nearly every film has disappointed me it came as a huge surprise that the real fun and entertaining, but also involving and impressive film should be this one, when i would never have believed it from script form. Welcome back QT.

You might enjoy this movie if you believe Tom and Jerry cartoons are the greatest artistic achievement of all time. You might enjoy this movie if you have absolutely no knowledge of history. You might enjoy this movie if you have never seen a good one. You might enjoy this movie if your favorite actors are Larry, Curly and Moe.

Tarantino has created his buffoonish, cartoonish, lampoonish impression of World War II. When every character and action is a joke, why give a shoot for over 2 and a half hours of shtick and schlock. There is no acting. It is all acting out. Tarantino is impressed with anyone who can speak or read a non-English language. There are only 6 billion such humans in the world.

Tarantino has such a warped concept of what is good acting, good writing. He can frame a shot. The first scene is what made the movie with critics. They left after the first 20 minutes and assumed the rest was as good.

What is worst of all is that Tarantino betrays his extreme ignorance of all realities of WW2. In order to take liberties with the truth you need to at least understand where the facts stop and fantasy begins. Tarantino misses the boat completely, so the entire premise of the movie is totally flawed. How could he miss depicting the Nazis as vampires? Why didn't he show Hitler's 30 inch ebony dildo and his crypt under the Brandenburg Gate? Also, the real Inglorious Basterds were not Jews, they were escapees from an insane asylum. They all had extreme physical deformities. Obviously, Hollywood wasn't prepared for the sight of freaks. Those facts should have been included. No legitimate WW2 movie would neglect to include them.

This film wasn't what I was expecting. For a war film it didn't have very much shooting for my liking. There was just too many scenes of talking down at a dinner table for it to be classed as a war film. Basicly this film was a let down and I wouldn't recomend watching it. 1/5

4.5/5

EDITED

A group of hardened Nazi killers stalk their prey in Nazi-occupied France as a Jewish cinema owner plots to take down top-ranking SS officers during the official premiere of a high-profile German propaganda film. As far as Lt. Aldo Raine (aka Aldo the Apache," Brad Pitt) -- is concerned, the only good Nazi is a dead Nazi. Raine's mission is to strike fear into the heart of Adolf Hitler by brutally murdering as many goose-steppers as possible, or die trying. In order to accomplish that goal, Lt. Raine recruits a ruthless team of cold-blooded killers known as "The Basterds" which includes baseball-bat-wielding Bostonian Sgt. Donnie Donowitz (aka "The Bear Jew," Eli Roth) and steely psychopath Sgt. Hugo Stiglitz (Til Schweiger), among others. When the Basterds' secret rendezvous with turncoat German actress Bridget von Hammersmark (Diane Kruger) goes awry, they learn that the Nazis will be staging the French premiere of "The Nation's Pride," a rousing propaganda film based on the exploits of German hero Fredrick Zoller (Daniel Brà 1/4hl), at a modest theater owned by Jewish cinephile Shoshanna Dreyfus (Mà (C)lanie Laurent), posing as a Gentile after the brutal murder of her family by the ruthless Col. Hans Landa (Christoph Waltz). As the Basterds hatch an explosive plan to take out as many Nazis as possible at the premiere, they remain completely oblivious to the fact that Shoshanna, too, longs to bring the Third Reich to its knees, and that she's willing to sacrifice her beloved theater in the process.

Starring, Brad Pitt, Mélanie Laurent, Christoph Waltz, Eli Roth, Michael Fassbender , Diane Kruger , Daniel Brühl , Til Schweiger , Gedeon Burkhard , Jacky Ido , B.J. Novak , Omar Doom , August Diehl , Denis Menochet , Sylvester Groth , Martin Wuttke , Mike Myers , Julie Dreyfus , Richard Sammel , Alexander Fehling , Rod Taylor , Sönke Möhring , Samm Levine , Paul Rust , Michael Bacall.

Directed by the well known film maker, Quentin Tarantino.

Nominated for 8 Oscars including Best Picture, Director, Actor in a Supporting Role Christoph Waltz, Original Screenplay, Cinematography, Film Editing, Sound Editing and Sound Mixing while it won 1 Oscar for Christoph Waltz. he also won best actor at Cannes and numerous other awards too.

this is a war movie as you all know, with the Tarantino's same old violent comic style. it tells a fictional story of two plots to assassinate the Nazi Germany political leadership. one is being carried out by a young Jewish girl who runs away from the wrath of Hans at the beginning, she is a cinema proprietor. and the other one by a team of Jewish Allied soldiers led by First Lieutenant Aldo Raine. it was not just a hit with Critics but it grossed so much becoming the highest grossing Tarantino movie.

Brad Pitt gave a good performance as this strict serious looking Lt. but Christoph Waltz took the lead with his outstanding sheer brilliance performance that takes your breath away from the very start. that beginning scene was too long and intense you have no idea what i felt. it kind of makes you feel like great things coming ahead. Melanie Laurent and Diane Kruger, the ladies of this movie again gave a good performance. Eli Roth and the other actors were okay and Michael Fassbender was a scene stellar. a huge cast with good impact on screen as well as good performances. but Waltz was out of this universe.

length of the movie is extremely long for the pace of it it is slow movie, develops good and then doesn't leave you. it is a hell of a ride. violent with humor too. direction was good, maybe the best after Pulp Fiction. screenplay was outstanding, quite excellently written. Editing was pitch perfect and so was art direction and cinematography.

i wasn't blown away by it at first but when i saw it again, i loved it. it is not a masterpiece but still a good entertaining movie. it is engaging but not thoroughly. a bold and not so over the top hell of a fun ride. one of the best movies of the year.

Quentin Tarantino's film, ''Inglourious Basterds'' (the mispelled title is taken from a 1970 movie starring Fred Williamson directed by the Italian Enzo Castellari), was first shown at the Cannes Filmfest last May and it won best actor for Christoph Waltz. Who's he that he eclipsed Brad Pitt in the same movie? He's an Austrian actor who plays Col. Hans Landa, the Jew Hunter, an astute Nazi officer who really upstages Pitt in the movie right from the opening scene.

The movie has two separate stories that eventually intertwine. The first one is about Shosanna Dreyfus (Melanie Laurent), a French Jew who is shown at the start of the film hiding under the floor of a dairy farmer's house with her family. Col. Hans visit the farmer's house and orders his men to shoot at the floor. Her whole family dies but Shosanna is able to escape. The second story is about Lt. Aldo Raine (Brad Pitt, his name is a tribute to B actor Aldo Ray) and his men who are called Basterds. One of them is called the Bear Jew (Eli Roth, director of ''Hostel''), who kills Nazis with a baseball bat. They are dropped in France behind enemy lines to kill Nazis. They scalp all their victims and have become so notorious even to Hitler himself.

We see Shosanna later as the manager of a moviehouse in Nazi-occupied Paris, where she now lives under a new name after escaping from Col. Hans. Winston Churchill (Rod Taylor) learns about a plan for an entire echelon of German officers to congregate in Soshanna's theater for the premiere of their new propaganda flick (a film within a film) about a courageous Nazi sniper. The Nazi war hero is Frederick Zoller (Daniel Bruhl), who's courting Shosanna without knowing her real identity as she's actually having an interracial romance with her black projectionist. The Allies plot to blow up the theater while Hitler and his generals are watching inside. The Basterds are instructed to plant the bomb with the help of a German actress turned spy, Bridget Von Hammersmart (Diane Kruger of ''National Treasure'').

Tarantino takes his sweet time in telling the story that is divided into various chapters that unnecessarily run for 2 hours and a half. The first chapter, ''Once Upon a Time in Nazi-Occupied France,'' shows Landa's massacre of Soshanna's family; the second is about the Basterds, the third shows Shosanna meeting Zoller who introduces her to Joseph Goebbels (Sylvester Groth), the fourth shows Winston Churchill (Rod Taylor) and a British commander (Mike Myers) hatching the plan to kill the German officers, while the fifth is about the blowing up of the theater itself.

But how Tarantino tells his story through his choreographed camera movements is what makes his film different, what with his inventive staging and giddy crane shots, plus the use of garish colors, including that velvet red in the theater scenes. Just like in his hit debut flick, ''Pulp Fiction,'' there are references to other movies to show his vast knowledge of film history, ranging from trashy exploitation movies to classic ones that will only be lost to non-film buffs. Even the music is some kind of tribute to Ennio Morricone's score in the spaghetti westerns of Sergio Leone starring Lee Van Cleef.

If you go for this kind of cinematic trivia peppered with Tarantino's trademark violence and dark humor, then this film is for you. But if you want a straightforward war or action story told in an exciting manner, you'll find this flick rather long-winding and dragging before getting to its point. Still, the film does succeed in generating some nerve-wrecking suspense, particularly in the fiery, climactic last 20-minutes focusing on the blowing up of the theatre.

Brad Pitt's fans will be disappointed with his role and exposure here. Make no mistake, he's good in his role as an American Jew who speaks with a pronounced Southern accent, but his character appears more like a supporting one and this is definitely not his movie.

The real show-stopper here is Christoph Waltz who gives a beautifully engineered portrayal chewing the scenery as the smart, charming but deadly and scheming Nazi officer. He owns the film whenever he's on screen as the most twisted, wiliest Nazi villain ever. And this, for us, is a mistake, making the contravida as the film's most dexterous performer and charismatic character. Personally, we'd take Tom Cruise's Nazi character in ''Valkyrie'' (another film about a plan to kill Hitler) anytime. And of course, the ending here is a fantasy as in real life, World War II didn't end this way.

Inglourious Basterds, Quentin Tarantino's revisionist take on World War II, is an exhilarating, blood-soaked revenge fantasy which punches you in the gut with its audacious dismantling of history and its blatant disregard for known facts. Indeed, only Tarantino could get away with making a film like this.

Opening in 1941 in the Nazi-occupied French countryside, the film follows Colonel Hans Landa, a Nazi Jew-hunter (played by Austrian actor Christopher Waltz) as he bursts into an isolated farmhouse to question a farmer about local Jews in hiding. This tense conversation is easily the film's best scene. Sitting across the table from the farmer, Landa, a deliciously evil creation, a giggling snake of a man, drinks the farmer's milk, lights up his pipe, and adopts a friendly tone, even as he verbally pummels the man into divulging precious information.

The scene ends with our first glimpse of Shosanna (played by Melanie Laurent), the young Jewish girl who escapes Landa's clutches even as he massacres the rest of her family.

Three years later, she is the owner of a cinema in Paris. There she is wooed by a film lover and a young Nazi hero, who is the star of a film called Nation's Pride which is set to premiere at her cinema. This will give Shosanna a chance to kill the top Nazi elite, including not just Landa, but also Hitler himself.

Little does she know that a group of bloodthirsty Jewish-American soldiers have their own plan for blowing up the party's top brass. Led by goofy voiced Lt. Aldo Raine (played by Brad Pitt), the Basterds strike fear into Nazi hearts with their unorthodox scalping techniques.

Much has been said and written about the violence in this film, but if you're familiar with Tarantino's cinema, you know his flair and fascination with torture porn.

In addition to the film's hyper-violence, the filmmaker brings many of his trademark touches to Inglourious Basterds for it to qualify as a true-blue Tarantino offering – quirky characters, oddball cameos, innumerable film references, long talkie scenes, and that distinct dialogue.

As Colonel Landa, the Satanic figure with a sardonic smile, Christopher Waltz is the film's biggest surprise and its greatest strength, practically stealing the show from everyone else.

Shooting a large portion of the film in languages other than English, Tarantino tests your patience with sub-titles and long drawn-out scenes. Eventually then, he delivers a one-of-a-kind picture that might not be as cutting-edge as Pulp Fiction, but it bears his distinctly individual stamp all over it like a badge of honour.

Four out of five for Inglourious Basterds; no one puts the fun into filmmaking quite like Tarantino does.

Rating: 4 / 5 (Very Good)