Sentences with phrase «inglourioius basterds»

«And then when I finally wrote that scene in «Inglorious Basterds,» I was like, «Oh, I think I finally beat that one!»»

There is a big gap between «True Romance» and «Inglourious Basterds,» the latter of which came out in 2009.

Like the «Basterds» scene, that's much longer than the typical film scene, especially one that doesn't exactly move the plot forward.

Sometimes, that violence has been used to thoughtful effect — as in Inglourious Basterds.

What I expected is what I saw, except unlike Inglorious Basterds, Django didn't rewrite the Civil War to the extent that Inglorious rewrote WWII where Adolf Hitler was actually....

Toss in a pork chop for good measure and you've got the right rescipe for that basterd.

Arrogant basterd!

I will be keeping an eye on the Greater Portuguese Gob's touchline antics throughout the game.He will be keeping one eye on the cameras making sure they catch his best side the egotistical basterd.

Do you think Brad Pitt sounds loony in the trailers for «Inglourious Basterds» because he's playing good - ol» - boy, Nazi - scalping Aldo Raine?

The beautiful French actress (known for her role in «Inglourious Basterds»), singer, director and writer, will also wear Dior Couture on the red carpet.

Actress and red carpet heroine Diane Kruger first wore this asymmetrical Marchesa Resort 2010 dress in red to the «Inglourious Basterds» premiere in Sydney back in August of last year.

She is known for roles such as Helen in Troy, Dr. Abigail Chase in National Treasure and its sequel, Bridget von Hammersmark in Inglourious Basterds, Anna in Mr. Nobody, and Gina in Unknown, I'm a big fan of her!

«Django Unchained» is «Blazing Saddles» with a body count, a positively incendiary entertainment about America's greatest shame, the personal and social toll of slavery, and like Tarantino's last film, «Inglourious Basterds,» this is a case of history being remixed in a way that makes more emotional sense to Tarantino as a storyteller.

Also, like «Basterds,» Tarantino strengthens his predilection for cinematic pastiche by translating unseemly historical imagery into zany fantasy.

It probably won't be the awards horse that «Inglourious Basterds» was, but who cares when you're having this good a time at the cinema.

As much as I loved Inglourious Basterds, that film was a series of digressions from the main plot, but this film is actually centered on the story he lays out at the beginning.

As with «Inglourious Basterds» and «Kill Bill,» cinematographer Robert Richardson's loud color schemes and retro camerawork nicely compliment the cartoon logic, as does the vivid soundtrack.

French actress Melanie Laurent first made waves in America with her role in the 2009 Quentin Tarantino film Inglorious Basterds.

The filmmaker's seventh feature plays like looser, dust - caked sibling to «Inglorious Basterds,» his last rambunctious attempt to rile up history with a rebellious sense of play.

Interesting that you bring up Inglorious Basterds, Sam.

For his version of a spaghetti western, though, he doesn't just explode the conventions of the genre — he does for slavery what he did for World War II in Inglourious Basterds.

But this particular film, which throws the revenge theme of «Inglourious Basterds» into a provocative ante-bellum Southern setting, when the slave economy was in full swing, needed more time to find its proper pace and tone.

Especially when there's not much tension or surprise as to where things are going, unlike the batshit insane climax to «Basterds».

Böse fancies himself the leader of the pack, heading into the cockpit to muscle around the crew (fellow «Inglourious Basterds» alum Denis Ménochet plays the smart and soulful engineer who tries to reason with him).

An international star and former model who is fluent in both French and English (she won a SAG Award as part of the «Inglourious Basterds» ensemble), Kruger had never acted in her native German before.

Having Bond and Blofield as adopted brothers is workable, but Waltz can't decide whether to play it as the Jew Hunter from Inglorious Basterds or as a straight - up pantomime.

Although, creaking under its running time, it's not quite as uproariously entertaining as his last pseudo-historical adventure, «Inglourious Basterds.»

If that sounds to you like the film with in a film from Inglorious Basterds, but American, you'd be correct.

and was introduced to a broad American audience in Quentin Tarantino's World War II fantasy «Inglourious Basterds,» playing the scene - stealing role of a Nazi sniper turned propaganda film star.

If the best scene in Inglourious Basterds was the cellar - barroom interlude where the characters played a spirited round of twenty questions — a game predicated on false identities overlaid on actual covert activity — Django Unchained offers a worthy follow - up in the Candieland sequence, which is filled with suggestive examples of play - acting.

The same can be said of Quentin Tarantino («Pulp Fiction», «Inglorious Basterds»), a talented auteur who «graces» the movie - going public with a new film every 3 years or so.

Quentin Tarantino reminded us of his genius with Inglourious Basterds in 2009 and he continues that revival via 2012's Django Unchained.

In Basterds, however, Tarantino was engaged with an exhaustive canon of World War II movies, from Casablanca to Schindler's List, while the subject of Django Unchained — slavery in the American South — is one that has been conspicuously absent in Hollywood films in the century since D.W. Griffith's The Birth of a Nation.

The aliens, we learn, can understand English, but speak in their own indigenous language of guttural grunts and clicks (making this one of two major releases this month, along with Quentin Tarantino's Inglourious Basterds, to predominantly feature subtitled dialogue).

Like its predecessor, Inglourious Basterds, the film's opening sequence places Quentin Tarantino's loquacious script in the capable hands of Christoph Waltz to set up an elaborate deception, making purposeful use of Elmore Leonard-esque dialogues.

No one is really who they purport to be and Tarantino has a blast here in something that plays not unlike an extended version of the best scene in the bar in «Inglourious Basterds.»

The middle act of «Django» sags a bit, especially in scenes that either go on too long or never should have been included in the first place (such as a boneheaded bit with a cameo by Jonah Hill that only serves to remind one of the Mike Myers scene in «Basterds,» another misjudgment from an otherwise smart filmmaker).

Django Unchained isn't in the absolute top tier of the director's films; I consider Reservoir Dogs, Pulp Fiction, and Inglourious Basterds to be more complete experiences.

2 and Inglourious Basterds, have murmured with deeper emotive qualities than some of us maybe previously thought Tarantino capable of.

Like Tarantino's Inglourious Basterds and Kill Bill, it's an odd amalgam of genres.

As for performance, everyone here is stellar, particularly Waltz, who shares nearly every scene with the very - good Foxx and delivers to nearly the degree he did in his Oscar - winning turn in «Basterds.»

The plot is, by Mr. Tarantino's standards, fairly linear, without the baroque chronology of «Pulp Fiction» or the parallel story lines of «Inglourious Basterds.»

When an actor becomes so closely associated with a character as Waltz did with his polyglot Nazi colonel in Inglourious Basterds, it can be a risk for that actor and director to reteam so quickly.

Similar to Tarantino's previous film Inglourious Basterds (2009) and his Kill Bill films (2003 and 2004) this is violence as cathartic spectacle.

Picking up for the late Sally Menke, editor Fred Raskin replicates the precise in - and - out - rhythms she managed in Basterds» dialogue scenes; the cutting never feels rushed, even when we're ping - ponging between multiple perspectives in a dinner - table showdown that employs DiCaprio to deliver one of Tarantino's signature extended soliloquies (complete with a faux Yorick skull).

DiCaprio, having a blast, makes Candie the equivalent of Waltz's Nazi in Inglourious Basterds: a racist villain who mesmerizes us by elevating his ideology into a puckishly thought - out vision of the world.

Christoph Waltz does not have the same presence as he did in «Inglorious Basterds», but is still more than adequate as Dr. Schultz.

Basterds blew its wad in that underground shoot - out as well, and in doing so killed off its best character (Michael Fassbender's stiff - upper - lipped British spy).

Judged against undeniable masterpieces like «Pulp Fiction» or «Inglourious Basterds,» it comes up a bit short comparatively.

Nothing here dazzles quite like «Cat People» in Basterds, but the songs suit the film — and often elevate it.