Sentences with phrase «basterds come»

That said I'm rooting for either Avatar or Inglorious basterds come Oscar time.

Remember when the first trailers for Inglourious Basterds came out and it -LSB-...]

Not exact matches

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

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

Number of Oscar nominations: 18 (notably, eight of which came from «Basterds» and one — the foreign language nod for «Dogtooth» — the following year)

Of course Tarantino is still a terrific writer / director, and Waltz, DiCaprio and Jackson are all worthy of awards for their brilliant performances, but Django Unchained doesn't come close to matching the same level of giddy amazement as Inglourious Basterds.

This past week, there have been three frontrunners to come forward: «Hurt Locker,» which got picked by both the Critics Choice and now PGA; «Inglourious Basterds,» which got the SAGs best cast ensemble award; and «Avatar,» which the Golden Globes shined their light upon.

Perhaps it's coming off the back of the alarmingly impressive Inglorious Basterds, but Django Unchained never manages to go past being a Tarantino film and an exercise in gleeful bloodlust.

Inglourious Basterds has many, many high points (no one will be surprised to learn that the music is fantastic) and it seems fitting that it's coming in at the tail end of Hollywood's recent Nazi themed obsession, but it can't escape a clunky and overlong construction.

Tarantino is a great writer and comes up with funny speeches and situations, but Inglorious Basterds falls apart in the ending with the duel stories.

When I think about Michael Fassbender, the first performance that comes to mind is his work as the doomed English soldier Archie Hicox in Inglourious Basterds.

He followed that film with one hugely disappointing sequel / rehash, 2007's «Hostel: Part II,» and in intervening years has flirted with a host of projects which never came to pass (the Stephen King adaptation «Cellular,» a feature - length expansion of his «Grindhouse» short, a sci - fi film called «Endangered Species,» etc.), stepped in front of the camera for friends («Inglourious Basterds,» «Aftershock «-RRB- and helped bring the Netflix series «Hemlock Grove» to life.

This intense French drama, directed by actress Mélanie Laurent (Inglourious Basterds), observes the fallout when an impressionable teenage girl comes under the sway of a charismatic emotional sociopath.

After drifting close to self - parody with his indulgent, referential grindhouse entry «Death Proof,» Tarantino came roaring back with «Inglourious Basterds» like he had something to prove, which of course, he did.

He attracted a talented cast — Robbie is coming off of an Oscar nomination for «I, Tonya,» Mike Myers hasn't appeared in a movie since «Inglorious Basterds» — but he doesn't show an original voice.

An advertising campaign built around aggressive violence and the reputation of a polarizing director, a late August release date and mixed early word coming out of Cannes were all factors working against «Inglourious Basterds» leading up to its release.

Now after the critical success of 2009's «Inglorious Basterds» comes the directors 8th project and immediate follow up, Ladies and Gentlemen I give you «Django Unchained».

Along with a proposed third volume of «Kill Bill,» the director has also expressed interest in a possible sequel to «Inglourious Basterds» (expanding a subplot from his original script following a unit of African - American soldiers) and remakes of the 1966 martial arts classic «Come Drink with Me» and the Russ Meyer exploitation film, «Faster, Pussycat!