So yeah this was excellent. Opening with the OG Django theme was awesome. Let's get this straight though Christoph Waltz does own the movie, but that does not diminish the other performances and characters. This is Django's story.

For those who read the script know that alot has been taken out or changed. I for one am happy that the rape is gone and also that whole sequence with the Scotty character and Calvin chasing a naked Broomhilida around a hotel are gone.

At three hours (I'm sorry 2 hours and 20 minutes) it moves and flies by. Black people beware, there's gonna be moments where white people are gonna be laughing and I was cringing. And they'll be moments were I was laughing and white people weren't (I was howling when Django whips the shit out of slavehand before shooting him down).

As for the soundtrack, it's awesome. Having one of the shootouts during a James Brown/Tupac mashup was brilliant. Also, the use of Anthony Hamilton and John Legend was perfect in this film and used at the right moments. So was Johnny Cash. I would say though they used the Rick Ross song in a bad spot and to me it could've been used better. Also, there's a new song by The RZA that's played over the credits that makes me wonder why it isn't on the soundtrack.

All in all, this film had me grinning more than it did cringing. And I loved the shit out this movie. If you love spaghetti Westerns, you're gonna love this. I still this QT could've calmed down on the nigger usage but it's EXTREMELY calmed down from what was in the script and for that my I'm happy.

I had the opposite reaction. I found myself cringing way more than laughing. I was always a QT apologist when people accused him of being an undercover racist, but ummm....I think he's an undercover racist. I never read the script, but if he really toned down the use of the N-word, it's crazy, because there were at least 100 instances of the word being used in the flick. I also thought he made a lot of easy choices in regard to slave/black behavior. I get that it's Tarantino and he has his off-brand of humor, but it didn't even work for me in a stylistic kind of way. It just felt like, 'Everybody laugh at how stupid them coloreds used to be'.

Also, I didn't find the journey especially engaging. For a 3-hour epic, it did move incredibly well, but after it was over, I just had an empty feeling. Believe it or not, I feel like this is a direct result of him not having Sally Menke this go-round. She was excellent at digging out subtle character moments. Also, I think he missed her sense of pacing.

After the screening I went to, there was a Q&A with QT and the moderator was praising him for his use of contemporary music, but I found it highly distracting. Rick Ross, Tupac, John Legend, James Brown, etc. kept pulling me out of the movie. To me, it called way too muh attention to itself.

The performances were amazing across the board. Django had to be Jamie....not Will, not Idris, not Tyrese....Jamie! He owned it. Christophe was brilliant as ever, Leo is a superb villain, and Kerry Washington brought a lot of weight to a character who didn't receive a lot of screen time. That motherfucker Sam Jackson though....he played the most vile, ignorant, coonish, loud, and despicable human being to ever be filmed -- but damn if he didn't commit.

I hated Tarantino's cameo...worst acting ever...probably the worst sequence of the film.

Bob Richardson's cinematography was beautiful. Wonderful lighting, sweeping landscapes, effective use of slow-motion, quick zooms to accentuate points, etc.

All in all, the cast was great and Richardson's cinematography was magnificent, but that stil wasn't enough to completely elevate the material and subject matter. I think Quentin got in his own way with this one. Aside from 'Death Proof', this is the first time I haven't had a burning desire to see one of his flicks again.

>I was always a QT apologist when people
>accused him of being an undercover racist, but ummm....I think
>he's an undercover racist.

A pretty huge disappointment that felt quite intellectually and artistically lazy (the music choices in particular) at times. He has NOTHING to say about slavery and just seems to be going for shock. They could have cut 30-45 minutes EASY. The first hour feels pretty endless.

Tarantino was smart enough to stay out of the concentration camps in Inglorious but not here. It tries to have the cartoon slap-stick violence co-exist here with the brutal slavery depictions. As a result, there's an off-putting dissonance to the flick.

The performances saved it for me. Foxx brings some depth to a pretty thin character. Waltz is good but it was pretty much a continuation of his work in Inglorious (a far superior movie). Dicaprio brings this movie to life when he's onscreen though. Might very well be his best work ever. It's a shame Kerry Washington has nothing to do here as I think she's a good actress.

Im disliking this movie the more I think about it.



>I had the opposite reaction. I found myself cringing way
>more than laughing. I was always a QT apologist when people
>accused him of being an undercover racist, but ummm....I think
>he's an undercover racist. I never read the script, but if he
>really toned down the use of the N-word, it's crazy, because
>there were at least 100 instances of the word being used in
>the flick. I also thought he made a lot of easy choices in
>regard to slave/black behavior. I get that it's Tarantino and
>he has his off-brand of humor, but it didn't even work for me
>in a stylistic kind of way. It just felt like, 'Everybody
>laugh at how stupid them coloreds used to be'.
>
>Also, I didn't find the journey especially engaging. For a
>3-hour epic, it did move incredibly well, but after it was
>over, I just had an empty feeling. Believe it or not, I feel
>like this is a direct result of him not having Sally Menke
>this go-round. She was excellent at digging out subtle
>character moments. Also, I think he missed her sense of
>pacing.
>
>After the screening I went to, there was a Q&A with QT and the
>moderator was praising him for his use of contemporary music,
>but I found it highly distracting. Rick Ross, Tupac, John
>Legend, James Brown, etc. kept pulling me out of the movie.
>To me, it called way too muh attention to itself.
>
>The performances were amazing across the board. Django had to
>be Jamie....not Will, not Idris, not Tyrese....Jamie! He
>owned it. Christophe was brilliant as ever, Leo is a superb
>villain, and Kerry Washington brought a lot of weight to a
>character who didn't receive a lot of screen time. That
>motherfucker Sam Jackson though....he played the most vile,
>ignorant, coonish, loud, and despicable human being to ever be
>filmed -- but damn if he didn't commit.
>
>I hated Tarantino's cameo...worst acting ever...probably the
>worst sequence of the film.
>
>Bob Richardson's cinematography was beautiful. Wonderful
>lighting, sweeping landscapes, effective use of slow-motion,
>quick zooms to accentuate points, etc.
>
>All in all, the cast was great and Richardson's cinematography
>was magnificent, but that stil wasn't enough to completely
>elevate the material and subject matter. I think Quentin got
>in his own way with this one. Aside from 'Death Proof', this
>is the first time I haven't had a burning desire to see one of
>his flicks again.

>He has NOTHING to say about slavery and just seems to
>be going for shock.

Of course he's just going for shock! That's the main conceit here. I mean, I haven't seen the movie yet, but if you went in there expecting the film to give you some sort of insightful analysis of slavery, you were in the wrong place.

>>He has NOTHING to say about slavery and just seems to
>>be going for shock.
>
>Of course he's just going for shock! That's the main conceit
>here. I mean, I haven't seen the movie yet, but if you went
>in there expecting the film to give you some sort of
>insightful analysis of slavery, you were in the wrong place.

I'm sure he didn't as right below that he states:

"Tarantino was smart enough to stay out of the concentration camps in Inglorious but not here. It tries to have the cartoon slap-stick violence co-exist here with the brutal slavery depictions. As a result, there's an off-putting dissonance to the flick."

And this is the main reason why I don't wanna see it

This is what I'm hearing



----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

yep and I read today in the press that he disapproves of the movie "roots" in which he feels it was a false depiction of slavery....gawdamn RACIST....how does tarantino know that roots was false depiction of slavery?

For what it's worth, so did the black producer of Django, Reg Hudlin, but regardless, here's the quote:

“When you look at Roots, nothing about it rings true in the storytelling, and none of the performances ring true for me either,” says Tarantino. “I didn’t see it when it first came on, but when I did I couldn’t get over how oversimplified they made everything about that time. It didn’t move me because it claimed to be something it wasn’t.”

http://www.thedailybeast.com/newsweek/2012/12/09/quentin-tarantino-on-django-unchained-and-the-problem-with-roots.html

He should sit down somewhere.

because I watched the tv one special of django interview where jamie fox and he discussed the movie and it sounds like he just wanted to make a fun movie and could really care less about it being an accurate representation because when this issue came up in the conversation about slavery and the N word being used, he went around the topic and said that he just wanted to make a fun movie and didnt really go into why the n word was used or why he thought of the roots movie being a false representation. jamie fox just said that the n word was the word of the day.....

>didnt really go into why...
>he thought of the roots movie being a
>false representation.

I mean, in fairness, Roots (the mini-series) added sympathetic white characters that weren't in the source material for the sole purpose of sugar-coating (and FALSELY REPRESENTING) reality so that it would be more palatable for less-enlightened white audiences.

According to the Museum of Broadcast Communications:

"Familiar television actors like American (sic) actor Lorne Greene were chosen for the white, secondary roles, to reassure audiences. The white actors were featured disproportionately in network previews. For the first episode, the writers created a conscience-stricken slave captain (Ed Asner), a figure who did not appear in Haley's novel but was intended to make white audiences feel better about their historical role in the slave trade."

Not sure why it's scandalous to point that out...

I really think that this film isnt really what it is cracked up to be....5 nods way before the movie was released....COME ON NOW and a racist one at that....

Ignore what I said about it being 2:21.

I, for one, enjoyed it very much. It was darkly funny. Literally and figuratively. Foxx is a badass. Leo and Christoph were fantastic. Sam Jack nailed the live-action version of Uncle Ruckus. And Kerry's very pretty.

I agree with bwood regarding the laughter.

I disagree with bwood regarding whose story it is. In fact, about 2/3 of the way through I said to myself, "THAT's the reason Will Smith turned it down." Django is the reason the movie exists, as everything happens because of the goals he has to reach, but to me it was really Dr. King Schultz's movie to carry. Or maybe I'm confusing shit-tons of dialogue with story weight. Dunno.

And yes, the N-word is prevalent. As is a LOT of blood. I'm really shocked this didn't get the NC-17.

Some of you will be ready to tear Quentin a new one. You can go right ahead. Story faults aside, I enjoyed the shit outta this, though there were times when I wished I was the only one in the auditorium.

___________________________________________________________________________
Bitch, don't kill my vibe.

Sounds like you had that post already written,
except you were thinking it was going to be actually
good and had to backtrack from:

"This was a masterpiece"

to

"I had a lot of fun with this."

You know its pretty bad; everybody I know whose seen it
says it fucking sucks.

You can admit that he dropped the ball, you know.

You won't be any less of an idiot.

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Oh wow, we're off to a fast mad start



----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Niggas are going to like this movie, and there's not much you can do about it, except cry and show your ass all over the post

Like you did for Dark Knight Rises

This particularly nigga's here to remind you that Nolan's a great filmmaker, and so is Tarantino

Cry your fucking troll-ass eyes out about it

___________________________________________________________________________
Bitch, don't kill my vibe.

I got my Bushido blade

Oh yes I do

>Niggas are going to like this movie, and there's not much you
>can do about it, except cry and show your ass all over the
>post

Of course they are

I mean 'The Artist' won Best Picture last year

Y'all don't think for yourselves

>Like you did for Dark Knight Rises

Everyone with integrity and intelligence thought was, at
best, a good shitty movie

Problem is, it was supposed to be the cap on a great epic,
which it wasn't

DKR was slightly better than Grindhosue

>This particularly nigga's here to remind you that Nolan's a
>great filmmaker, and so is Tarantino

Bwahhhahaa

Apparently there's evidence of that from Django

But "it did what it was intended to do," right?

That meaning serve as a stepping stone for all yalls
low self-esteem

>Cry your fucking troll-ass eyes out about it



----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Shut the entire fuck up, nigga

___________________________________________________________________________
Bitch, don't kill my vibe.

The movie isn't very good and O-E is incredibly mad.

like...it wasn't even a good movie.

and I don't have a problem with Nolan. I loved the 2nd.

jussayin

D

____________________________________________________________________________
Bitch, don't kill my vibe.

And that the film doesn't work on any level

I don't expect PTP to admit it

You guys are gonna stay something about:

"It did what it was supposed to do"

People are officially tired of it and are seeing QT for what
he really is

Don't get me wrong his fanbase is big enough now that
he can eat off terrible movies forever, and good for him

I'm only seeing it if I'm on a date (A Tarantino film rule; plus
I can gauge how smart a girl is by how much she likes Tarantino.
Best g/f I ever had thought dude was a clown).

Doesn't sound too promising though

But again: don't expect y'all to admit it





----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>You guys are gonna stay something about:
>
>"It did what it was supposed to do"

Y'all are going to cross examine Iron Fists at a level
that you wont' cross examine Django, though because
most of y'all have extremely low self-esteem.

Django is clearly shitty, you can tell by all the "it was good popcorn
fun" reviews

Almost all positive reviews say something between that
and "It did what it intended to do."

That's code for: "It sucked, but I have low self-esteem and
need to cook up a reason that this isn't the worst movie of
the year, which it was."



----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Most of the buzz on Twitter is positive. Nice try.

And only after I wrote my review

I'm flattered, really I am

___________________________________________________________________________
Bitch, don't kill my vibe.

I'm usually a healthy Tarantino skeptic, as you know... I'm just not coming across the same reviews you are, I guess. I'd love for you to post them, since every critic I'm reading has either liked it with some reservations (the length being the primary reservation) or loved it outright.

>I'm usually a healthy Tarantino skeptic, as you know... I'm
>just not coming across the same reviews you are, I guess. I'd
>love for you to post them, since every critic I'm reading has
>either liked it with some reservations (the length being the
>primary reservation) or loved it outright.

But I don't expect an honest review of this, to be honest

Watch: some black hipster is going to call this the most
nuanced commentary on race in over a decade

After that, white hipsters will feel comfortable saying
the same

From what I understand, he basically has a dumb revenge
flick in a slavery backdrop and the racial commentary is
gratuitous and borderline offensive


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

> and the racial commentary is
>gratuitous and borderline offensive
>


it's not borderline at all. it's blatant, in your face bigotry. and it's supposed to make you laugh.

What? You're not drinking the Taran-TEA-Know?

>As for the soundtrack, it's awesome. Having one of the
>shootouts during a James Brown/Tupac mashup was brilliant.
>Also, the use of Anthony Hamilton and John Legend was perfect
>in this film and used at the right moments. So was Johnny
>Cash. I would say though they used the Rick Ross song in a bad
>spot and to me it could've been used better. Also, there's a
>new song by The RZA that's played over the credits that makes
>me wonder why it isn't on the soundtrack.

See how the soundtrack gets a whole paragraph?

Y'all are just making up reasons to like this.

Note how the soundtrack didn't get that much coverage in
the Iron Fist post, when the Iron Fist soundtrack is not only
splendid, its is more important to its marketing than Django's.

I didn't hear anyone bigging up Iron Fist by talking about how
great the soundtrack was.

Y'all are just making up reasons to like this.

Hard to debate me on this one. I'm right.


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>>As for the soundtrack, it's awesome. Having one of the
>>shootouts during a James Brown/Tupac mashup was brilliant.
>>Also, the use of Anthony Hamilton and John Legend was
>perfect
>>in this film and used at the right moments. So was Johnny
>>Cash. I would say though they used the Rick Ross song in a
>bad
>>spot and to me it could've been used better. Also, there's a
>>new song by The RZA that's played over the credits that
>makes
>>me wonder why it isn't on the soundtrack.
>
>See how the soundtrack gets a whole paragraph?
>
>Y'all are just making up reasons to like this.
>
>Note how the soundtrack didn't get that much coverage in
>the Iron Fist post, when the Iron Fist soundtrack is not only
>splendid, its is more important to its marketing than
>Django's.
>
>I didn't hear anyone bigging up Iron Fist by talking about
>how
>great the soundtrack was.
>
>Y'all are just making up reasons to like this.
>
>Hard to debate me on this one. I'm right.
>
>
>----------------------------
>
>Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it
>you? http://MatchShannon.com/
>
>
>
>
>
>
>
>O_E: "Acts like an asshole and posts with imperial disdain"
>
>
>
>
>"I ORBITs the solar system, listenin..."
>
>(C)Keith Murray, "

Hold all the fuck up nigga. I was on your side with Iron Fists and that movie has the better soundtrack (and score). No one mentioned the soundtrack cause niggas were talking bout it in The Lesson. Don't come to me with this bullshit gripe, just because you hate QT.

I mean it's not like he's made any films that have any stick out songs or classic use of them.

lol if you go by what ppl say on here Tarantino wouldn't be able to get a job directing industrial videos. you dudes try too hard to write him off but yet he still seems to put along in the his own lane

I want you bitch niggas to be FURIOUS with this, and any and all praise this movie gets, whether it's here (not likely, I'm predicting another DKR pile-on) or critical reviews, or "through conversations"

And I hope it makes more money than Inglourious, just to send you hater hoes through the roof

____________________________________________________________________________
Bitch, don't kill my vibe.

If this does well, it does more for my general steez as a
cultural critic, which I get a check for whenever I want
(not high on my priorities, but not a bad hustle)

I'm literally planning fun activities right now with money I will generate
from checks I'm gonna get (Miami in February, Cali in May) talking about
how flawed society is, as evidenced by the art that it extols

If this flops, I have to do something else to get extra bread, because
that would mean people are starting to think for themselves

I'm being serious here

I need this shit to do well, or else I can 't write critiques and am
no longer relevant

The universe needs me to shed light on the truth because movies
like 'The Artist' win best picture and Tarantino gets praise

Sorta like how Jesse Jackson went out of business when Obama
got elected

I'm "voting for Romney"

Do keep in mind that I will evaluate the movie based on
how I actually feel, though and will be fair

Always am fair

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

but for art thou why?

_________________________________________________________________________
Bitch, don't kill my vibe.

I got your inbox.

I don't know of any in the area, sorry


But seriously,

It doesn't work when the moderators are mad

You're worse than back when Expertise was the OKactivist Mod
and was locking posts about helping the black community because
they were communist and reverse-racist

You can't be mad, doggie

you CAN'T be


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

No offense to OE or Zoo. I can just kinda see how the next 300 replies are gonna play out.

Someone likes it --> two or three posters who also liked it comment snarkily about how OE is going to reply, OE replies predictably, etc

Someone hates it --> OE replies how they're being honest, they're not ashamed to go against the grain, etc. Maybe some people who liked it have a question or two about the person who hated it's perception, which will then lead to OE replying to THAT directly

No one in particular is to blame-- it's just kinda how Tarantino posts are destined to end up at this point. The divisiveness of his particular aesthetic combined with the nature of online message boards.

And I'm not even a big Tarantino fan. And I've contributed in the past to posts like this one. Generally, when it comes to Tarantino flicks, I'm usually *more* on OE's side than the positive side.

It's just the predictability of it at this point is all. And it sort of distracts from any and all valid critical points that may sneak its way into this post somehow.

Anyway. I'll come back to this post December 26th, to drop my review. By then this post will be double plat and the movie won't even have opened. Sigh.

Now if you'll excuse me, it's time for some people to reply to this reply that the reason these posts are like this is because of OE, time for OE to reply to this reply saying what's really boring and kinda sad is how predictable QT fanboys are, and time for me to leave.

Love you guys.

Let y'all do your thing.

Not sure why my opinions irk people so bad, though

But I'll leave that alone.

Have a good Friday.

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

talking about how shitty he is when he hasn't even seen it! lol

Didn't bother posting in that one & I'm probably not going to see this movie. At least not until I notice it's on cable one night & I can't help myself like I did with most of Death Proof & Basterds.

For the record I will happily admit that I'm mad that Quentin made this flick since I think I'd probably want to see it if any other director besides he was at the helm. Haven't really been a fan after the big Kill Bill 2 let down.

I'll be here lurking & hoping for more entertainment tho.

Not troll, or pile on in the hopes of getting a few LOLs.

I'm seriously eager for the rest of PTP to see this and weigh in.

___________________________________________________________________________
Bitch, don't kill my vibe.

i may take that opp to see it

and your "review" was a damn cop out. anyone can tell from that half-hearted shit that the movie is wack.

that said...i'll wait.

Bwahahhahhahhahahahahahaaahahahahahahaha

Woooooowwww

I mean goddamn dog, at least TRY TO ARGUE that it
was good

Dude basically waved the white flag with that one

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

How's that?

___________________________________________________________________________
Bitch, don't kill my vibe.

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

... because I just went to a press screening and of course it's already devolved into an agenda fest. That shit is fun in OKS but gets annoying quick on this board.

... that I had the exact same reaction. I saw it in a room of white critics and there were certain moments of uproarious laughter that made me grimace...which raises a lot of questions about whether or not the film itself works, which I'll have to deal with when I sit down to write my review.

i kinda shuttered during Inglorious when all the white people were laughing at the king kong joke. I felt belittled, isolated, and slightly offended. not saying this reaction is universal or even the "right" reaction, but it's how i felt.

white people shouldn't have to hide from their feelings and true reactions when it comes to "entertainment." particularly when they paid to see it.

but it also begs the question: are we now blurring the lines of what's considered racist behavior? I mean, it's a movie with paid actors on a set reading lines. it's not real. however, the words are real, the context is real. the laughter is real.

not saying one side is right or wrong, but reading the script and then reading various comments online got me thinking about this.

not to post jack or anything but i feel like it's a pretty significant component of this film, being that "nigger" is uttered countless times by white actors in a context that is highly derogatory and bigoted.

furthermore, being that much of the "comedy" in Tarantino's writing is subjective to the viewer, whose to say when is an appropriate time to laugh?

i suppose my question is, are white people who laugh at a significant portion of this movie racist? How much, or how little do they have to laugh in order for them not to be racist?

sorry, no disrespect.

The parts I (note: a white dude) cringed at racism (and there's quite a few of them) were mainly a result of lazy writing on Quentin's part IMO. Some of the jokes here are so bad that you're really confused as to what it is you're supposed to be laughing at. There's just none of the wit and intelligence I saw in Inglorious present in much of Django.

I feel the same way, honestly.

It's not until DiCaprio's character is introduced that Tarantino finds his "stride" if you will. But even then, much of the writing seems out of place and inorganic -- to the extent that I question whether or not he truly intends to patronize his audience.

BUT

isn't that dudes steeze in general, though? Empty shock, while chasing cool? None of his films have anything at all to say, ever.

Foxx's Django is literally the soul of the movie (roll your eyes if you must), but Dr. King Schultz is its wild heart and conscience...

___________________________________________________________________________
Bitch, don't kill my vibe.

it's just not that compelling a character for me. The movie is at its best when Foxx, Waltz and Dicaprio are onscreen together. I just expected more from Tarantino after Inglorious.

>i kinda shuttered during Inglorious when all the white people
>were laughing at the king kong joke. I felt belittled,
>isolated, and slightly offended. not saying this reaction is
>universal or even the "right" reaction, but it's how i felt.

full disclaimer: I don't go out to movies very often at all. getting me in the theater is like pulling teeth. however, after much "screening" you can somehow convince me to sit down and watch a film.

that being said, one of those rare times was going to see South Park: Bigger, Longer and Uncut. I ain't even want to really see the shit, but did any way cause my boys insisted.

I found it amusing, but there was one scene where I noticed a lot of white laughter: the "human shield" scene. Now I kind of smirked at it, because I got the joke -- they were making fun of the racist "black folks die first" trope. it's one of those things to which I'd rather nod, than laugh.

but these motherfuckers were laughing like shit. like, "this shit is funny to y'all?"

later on, when that one kid (who says outrageous things; he wasn't a regular cast member... think the character was named Mole or something) was like, "where's your God? Where's that fucking (effwurd) now?"

Dogg.

I laughed my ass off. Dude basically called God the Neo F-Word right there, front and center.

None of those motherfuckers were laughing.

I still thought that was the funniest "shock" scene in the entire film.

in any case, I remember watching that shit, wondering "damn... what do white folks laugh at nowadays"

and yeah, everything buddy says is is funny as shit in that movie.

Like you, I was in tears @ "your beautiful faggot Jesus".

Meanwhile, crickets from everybody else in the theater

>Meanwhile, crickets from everybody else in the theater

dogg, the fact that they DIDN'T laugh is what made it even funnier to me

ever put on film. for those of you who sat in the theater with a furious erection counting N-words and crying, you missed the movie. unlike most films/tv portrayals of this subject matter, django unchained has absolutely zero sympathy whatsoever for the slave-owning south. rather than celebrate the grandeur of the plantations, it recognizes them as the killing fields they were. rather than portray southerners of that time as well-mannered but morally misguided, it recognizes them as the murderering, raping, torturing, slovenly (and later treasonous) aristocracy they were. these are people who, like thomas jefferson and other founding fathers, saw fit to enslave their own children. no amount of redemption is justified, and there's none to be found in django unchained. in short, this is the first film i've seen that accurately portrays the confederate south as-- in a history littered with slavery and genocide-- quite possibly the most morally corrupt society that has ever existed.

and let's just get this inconvenient truth out of the way: no other white writer/director would've had the guts to make this film. and no black writer/director would've been allowed to make this film (they'd have been ushered out of the pitch room by security). in that respect, hollywood owes QT a debt of gratitude for making a film that literally no one else could have or would have made.

like the equally brilliant inglorious basterds, django unchained takes one of the great injustices of recent history and weaves in a revenge fantasy worthy of its villains. but it also succeeds spectacularly as a western (the landscape imagery and quiet scenes between foxx and waltz are as good as they come) and blaxploitation flick (likewise for the music and violence). the genres are woven and blended with masterful skill.

some people found the music jarring; those people are wrong. there are a million westerns with country music, a million blaxploitations with soul music. if you're adamant about seeing the same things done in every movie, go watch one of those. but what's the quote about if you break the rules, break them beautifully? that's exactly what QT does here. morricone and bacalov for the purists, rick ross, john legend, and anthony hamilton for those who like to see boundaries pushed. i loved, LOVED tupac (featuring django!) in the big shootout scene. i was furious at the use of johnny cash's "ain't no grave," a song i've been diligently saving for my own western.

the dialogue absolutely crackles. again, while the simple-minded among you count N-words, i count rhetorical punches landed, which were many and often. the bumbling klan scene was a diversion that from an editing standpoint was probably best left in a director's cut, but because it was both absolutely hilarious and a necessary addition to any anti-love letter to the confederate south, we'll allow it. waltz's character, in particular though, is a walking poetic monologue machine, from his laying out of options for the slaves being transported along with django ("if there are any astronomy aficionados among you..."), to his incredible explanation for murder to a town of people with guns on him ("marshal, you owe me $200..."). i have to assume that the charges of racism against QT are based on the high-quality-- from a rhetorical and linguitic standpoint-- of the dialogue coming from his racist characters. no doubt, he paints these characters with a master's brush and the racism flows out of their mouths like honey. but honestly, you guys are idiots. no racist would make this film or anything close to it. this isn't a film that glorifies the racism of the confederate south, it holds up a blinding light to it. then shoots it in the face. understand the difference. i am curious about people's complaints of inappropriate laughter in certain scenes (which i'm guessing says more about the people laughing than the film, but still i'm curious). which ones, specifically? i missed it.

as for the performances, the chemistry between foxx and waltz is fire. i wish foxx had played it a little less low-key at times, as i thought it left django's character a bit lifeless, though i absolutely bought him as a gun-slinging cowboy. i'm curious what will smith would've done with the role, though i can see why he passed; the risk to the smith brand here would've been immense. no oscar nod is worth risking willow's next album. but really, this is a film carried by its supporting actors, the men django meets along his journey. in a just world, don johnson, leonardo dicaprio, and sam jackson would all be up for oscars. as it is, i think we'll have to settle for leo's first, in what for him is a career-defining performance. his calvin candie is every bit as charismatic and seething with quiet evil as waltz's villain in inglourious. the scene where he's explaining the intricate "differences" between the negro skull and the white skull is spectacular, showcasing the best of both leo and QT's skills and revealing the pure psychosis of 19th century racism (which necessarily had to be extreme to justify the scale and scope of the society they had built) in a way that most portrayals of slavery don't come close to. johnson and jackson have scenes and dialogue with similar effect. but the leo for supporting actor train boards here.

my issues with the film are minor. kerry washington is basically a macguffin, not given much to do, aside from a brief scene with waltz. though i think the scene where waltz tells django the german legend of broomhilda is really effective at establishing her value to the story. the QT cameo is ridiculous, of course. it was distracting, at best, at a point in the film that was... let's say, not the ideal point to get yanked out of it. if it came earlier, maybe it gets a pass. lastly, QT painted himself into a corner after the big shootout. no way they "punish" django like that and basically ignore his wife. i didn't buy it, but it was a necessary evil to set up the big finish.

flaws and all though, the story is engaging, the dialogue poetry, the imagery unforgettable, the filmmaking bold and innovative. this should be the frontrunner for best picture. should. it obviously will do nothing of the sort, as the subject matter and people's reactions to it are far too polarizing. this is only the feel-good movie of the year if you believe that the confederate south was a literal hell on earth that should have, morally speaking, been burned to the ground as candyland was, and that every traitor in a gray uniform who defended that society should have, legally speaking, been hung (though to be clear, i applaud lincoln's otherworldly compassion and restraint in doing none of these things; i might not be here otherwise, nor would the united states of america).

though the revenge fantasy is just as sweet as inglourious, the bravery required of the filmmaking here surpasses it. almost no one anywhere defends nazis. you can shoot hitler all day with impunity. the confederate flag, on the other hand, still flies-- legally protected from desecration in five states-- all over america. with django unchained, tarantino carefully unfurls that flag, holds it up high for public view, then takes a long, satisfying piss all over it.

>ever put on film. for those of you who sat in the theater
>with a furious erection counting N-words and crying, you
>missed the movie. unlike most films/tv portrayals of this
>subject matter, django unchained has absolutely zero sympathy
>whatsoever for the slave-owning south. rather than celebrate
>the grandeur of the plantations, it recognizes them as the
>killing fields they were. rather than portray southerners of
>that time as well-mannered but morally misguided, it
>recognizes them as the murderering, raping, torturing,
>slovenly (and later treasonous) aristocracy they were. these
>are people who, like thomas jefferson and other founding
>fathers, saw fit to enslave their own children. no amount of
>redemption is justified, and there's none to be found in
>django unchained. in short, this is the first film i've seen
>that accurately portrays the confederate south as-- in a
>history littered with slavery and genocide-- quite possibly
>the most morally corrupt society that has ever existed.
>
>and let's just get this inconvenient truth out of the way: no
>other white writer/director would've had the guts to make this
>film. and no black writer/director would've been allowed to
>make this film (they'd have been ushered out of the pitch room
>by security). in that respect, hollywood owes QT a debt of
>gratitude for making a film that literally no one else could
>have or would have made.
>
>like the equally brilliant inglorious basterds, django
>unchained takes one of the great injustices of recent history
>and weaves in a revenge fantasy worthy of its villains. but
>it also succeeds spectacularly as a western (the landscape
>imagery and quiet scenes between foxx and waltz are as good as
>they come) and blaxploitation flick (likewise for the music
>and violence). the genres are woven and blended with
>masterful skill.
>
>some people found the music jarring; those people are wrong.
>there are a million westerns with country music, a million
>blaxploitations with soul music. if you're adamant about
>seeing the same things done in every movie, go watch one of
>those. but what's the quote about if you break the rules,
>break them beautifully? that's exactly what QT does here.
>morricone and bacalov for the purists, rick ross, john legend,
>and anthony hamilton for those who like to see boundaries
>pushed. i loved, LOVED tupac (featuring django!) in the big
>shootout scene. i was furious at the use of johnny cash's
>"ain't no grave," a song i've been diligently saving for my
>own western.
>
>the dialogue absolutely crackles. again, while the
>simple-minded among you count N-words, i count rhetorical
>punches landed, which were many and often. the bumbling klan
>scene was a diversion that from an editing standpoint was
>probably best left in a director's cut, but because it was
>both absolutely hilarious and a necessary addition to any
>anti-love letter to the confederate south, we'll allow it.
>waltz's character, in particular though, is a walking poetic
>monologue machine, from his laying out of options for the
>slaves being transported along with django ("if there are any
>astronomy aficionados among you..."), to his incredible
>explanation for murder to a town of people with guns on him
>("marshal, you owe me $200..."). i have to assume that the
>charges of racism against QT are based on the high-quality--
>from a rhetorical and linguitic standpoint-- of the dialogue
>coming from his racist characters. no doubt, he paints these
>characters with a master's brush and the racism flows out of
>their mouths like honey. but honestly, you guys are idiots.
>no racist would make this film or anything close to it. this
>isn't a film that glorifies the racism of the confederate
>south, it holds up a blinding light to it. then shoots it in
>the face. understand the difference. i am curious about
>people's complaints of inappropriate laughter in certain
>scenes (which i'm guessing says more about the people laughing
>than the film, but still i'm curious). which ones,
>specifically? i missed it.
>
>as for the performances, the chemistry between foxx and waltz
>is fire. i wish foxx had played it a little less low-key at
>times, as i thought it left django's character a bit lifeless,
>though i absolutely bought him as a gun-slinging cowboy. i'm
>curious what will smith would've done with the role, though i
>can see why he passed; the risk to the smith brand here
>would've been immense. no oscar nod is worth risking willow's
>next album. but really, this is a film carried by its
>supporting actors, the men django meets along his journey. in
>a just world, don johnson, leonardo dicaprio, and sam jackson
>would all be up for oscars. as it is, i think we'll have to
>settle for leo's first, in what for him is a career-defining
>performance. his calvin candie is every bit as charismatic
>and seething with quiet evil as waltz's villain in
>inglourious. the scene where he's explaining the intricate
>"differences" between the negro skull and the white skull is
>spectacular, showcasing the best of both leo and QT's skills
>and revealing the pure psychosis of 19th century racism (which
>necessarily had to be extreme to justify the scale and scope
>of the society they had built) in a way that most portrayals
>of slavery don't come close to. johnson and jackson have
>scenes and dialogue with similar effect. but the leo for
>supporting actor train boards here.
>
>my issues with the film are minor. kerry washington is
>basically a macguffin, not given much to do, aside from a
>brief scene with waltz. though i think the scene where waltz
>tells django the german legend of broomhilda is really
>effective at establishing her value to the story. the QT
>cameo is ridiculous, of course. it was distracting, at best,
>at a point in the film that was... let's say, not the ideal
>point to get yanked out of it. if it came earlier, maybe it
>gets a pass. lastly, QT painted himself into a corner after
>the big shootout. no way they "punish" django like that and
>basically ignore his wife. i didn't buy it, but it was a
>necessary evil to set up the big finish.
>
>flaws and all though, the story is engaging, the dialogue
>poetry, the imagery unforgettable, the filmmaking bold and
>innovative. this should be the frontrunner for best picture.
>should. it obviously will do nothing of the sort, as the
>subject matter and people's reactions to it are far too
>polarizing. this is only the feel-good movie of the year if
>you believe that the confederate south was a literal hell on
>earth that should have, morally speaking, been burned to the
>ground as candyland was, and that every traitor in a gray
>uniform who defended that society should have, legally
>speaking, been hung (though to be clear, i applaud lincoln's
>otherworldly compassion and restraint in doing none of these
>things; i might not be here otherwise, nor would the united
>states of america).
>
>though the revenge fantasy is just as sweet as inglourious,
>the bravery required of the filmmaking here surpasses it.
>almost no one anywhere defends nazis. you can shoot hitler
>all day with impunity. the confederate flag, on the other
>hand, still flies-- legally protected from desecration in five
>states-- all over america. with django unchained, tarantino
>carefully unfurls that flag, holds it up high for public view,
>then takes a long, satisfying piss all over it.

Uma Thurman Kill Bill eyebrow raise

because that was really well-done.

spoilers much??


Anyhow, your perspective is all well and good. However, I take issue primarily w/ the fact that QT holds the confederate flag up, as you say, for 80% of the film, while his proverbial piss garners a mere 20%. Furthermore, that 20% is sloppy and rushed.

So while I admire your articulate and detailed synopsis, I respectfully disagree and maintain this film as his not so subtle magnum opus of bigoted satire.

the very opening scene, where schultz frees django, he blasts slave trader #1 then hands the rifle and the key over to the other slaves and encourages them to blast slave trader #2. which they do. and pretty much every slave owner they come across throughout the film gets it likewise, right down to calvin candie's sweet southern belle sister. no, the confederate flag gets it immediately and consistently throughout this film. like i said before, there is no redemption for the slave-owning south here, no hint of the begrudging respect or pity found in most films of this subject matter. only an incredibly refreshing moral clarity. they are villains, all of them, and in true hollywood style they get what's coming to them.

>my issues with the film are minor. kerry washington is
>basically a macguffin


Let me know when I can LMMFAO @ shit like that.


(And the rest of that reply, for that matter).


Don't want to step on any toes or "ruin the discussion."


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Don't blow your wad before you even seen it.

>Don't blow your wad before you even seen it.

Thing is this: its already perfectly acceptable to
say:

"kerry washington is basically a macguffin"

in a review.

When that's the case, the trolling is done for me.

I can actually have a serious conversation about it
and it will come across as trolling.

PTP is turning into the Lesson in that way; so knee
deep in insecure music opinions is the Lesson
that rational discussion is deemed hateful and troll-like.




----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

It's been way too obvious these past few months. Study Mistermaxx. That dude goes quiet for months and returns with a tsunami entertainment.

I'd say "Come back after you see it", but, honestly, the more I think about it, this whole Django campaign is way too predictable for you. You'd be better off finding some new angles on Zero Dark Thirty or something else unexpected.

Maxx is great because he makes people talk about the shit he wants to talk about (R. Kelly, Bee Gees etc etc). Your trolling has been weak lately because you're jumping on shit the Lesson already like to talk about (Tarantino, Kendrick, Lupe etc etc).

Problem is, people like you get mad at the
mere sight of an Orbit_Established post.

You've probably already googled my name, plotting
other ways to follow me around.

Seriously -- how much better does it get than that?

So I can do what my stalkers suggest, or continue
being me and have stalkers like you.

I'm going to ride this strategy for a bit longer.

Thanks, boss.


----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Stay focused.



----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Seen it last night...best film I seen this year! & I've seen them all, other than "Thirty Dark Zero", which I hear is great. But this is a film only Tarantino can make and if your not a fan of his, u will probably have the same problems that u had with his previous films...which being on here for many years, I know many on here are not QT fans. To me...this film fits perfectly into the Tarantino universe, which I rank in quality...Pulp Fiction, Jackie Brown, Reservoir Dogs, Kill Bill Vol 1 & 2, Django Unchained, Inglorious Basterds, and Death Proof.

I'm honestly just trying to get a handle on what
Tarantino's intentions were

Because I've heard about 74 different things about
how this "film is a splendid_____"
Insert:

a) spaghetti western

b) virulent fuck you to the confederate south

c) simple revenge film with an interesting context

d) postmodern take of race

e) All of the above




----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Being that the Confederate South was literally burned
to the ground post Civil War in one of the great Ls in
military/political history.

And I didn't even know that this was Tarantino's intention.

And you used 'virulent' out of context (actually, you
plain misused it). Sort of tipped me off to what the
rest of the argument was going to be like.


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Honestly -- I need you.

The stalkers are a part of my legend.

I'm being serious. It legitimizes my presence.

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

just some friendly advice though. You're already bogged down replying this thread responding to everyone making you mad.

Stay with me, stay with me.

When I get accused of trolling, I can just point
to you stalking every reply. You feed the beast.

But to be honest, I'm actually just asking some honest
questions about the film.


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Without my stalkers, I'm literally a
nobody

Appreciate it, champ

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Definition: Bitterly hostile or antagonistic; hateful

Synonyms: vicious, vindictive, bitter, hostile, malicious, resentful, acrimonious, malevolent, spiteful, venomous

EDIT: I'm not even saying you're wrong. I really want to know.

Its amazing.

You guys have no idea what you're doing, and literally
create ideas out of thin air, and try to be intelligent
when you create them.

Problem is, because you don't know what you're talking
about, said idea or opinion comes across as shallow
and sophomoric instead of nuanced and insightful.

This is how most Tarantino reverence is.

Its mostly bullshit.


>Definition: Bitterly hostile or antagonistic; hateful
>
>Synonyms: vicious, vindictive, bitter, hostile, malicious,
>resentful, acrimonious, malevolent, spiteful, venomous
>
>EDIT: I'm not even saying you're wrong. I really want to
>know.

This is what Professional did:

He/she thought of a word, then googled the thesaurus for
synonyms that made him/her sound intelligent.

They came up with "virulent."

A "fuck you" to a part of the country for something
that happened 200 years ago cannot be "virulent."

Infections are "virulent." Viruses are "virulent."
Bacteria are "virulent." Just google "virulent" and
see for yourself.

Some social scientists use "virulent" in the context
of racism/classism, etc, but that's an extension of
a social ills=biological ills metaphor.

Very rarely is "virulent" used with stuff like hatred,
because there are zillions or better, more intelligent,
more specific modifiers. "Virulent" just doesn't work
that well there, unless you're extending the metaphor
to actual illness.

I've read other uses of the word, but almost none of
them are used properly.



----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>Very rarely is "virulent" used with stuff like hatred,



next
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

As it crippled the southern economy, brought a lot
of free blacks right back into slavery-like work conditions,
further galvanized white resentment of blacks

A lot of black folks just wanted some basic protections,
right to wages, etc, we really didn't need all that
extra shit

Plus, lotta blacks bounced north and west anyway

Lots stayed too, but damn, not even they could establish
anything there

All that burning the south to the ground shit was white
men being mad at white men; they weren't thinking about
black people.


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

it's kind of an Ice Cube, "who are they to be equal to?" (or rather, "who are they with whom to empathize") situation when I consider them. That the white folks were mad at THOSE white folks is good, no matter the reason.

That butthurt (from taking that L) remains today, which I think largely inspired theprofessional's comment above (in fact, his very last sentence or so confirms it)

Its the lowest class, poorest, least educated place in
the wealthiest country in the world.

Everyone makes fun of it.

Literally nobody has anything good to say about it. Mitt
Romney openly clowned white southerners and they still
voted for him.

If Tarantino made a film to "piss on the confederate flag"
then he's pushing against a wide open door. Wouldn't surprise
me if he did, because he's not a very intelligent filmmaker.

The problem is that Tarantino didn't even do that.

He made a revenge western film about slavery, using a setting
that we're supposed to be sympathetic to.

The "confederate south" had nothing to do with it.


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

while Southerners are mocked, I still think the mocking is more "milquetoast". like "lol, look at these poor folks. look at these dumb folks. listen to them talk". that shit is just dumb. one's economic class, and level of education is almost never funny. customs aren't funny unless they're on some wild "Fleece" type shit.

but if you wanna make fun of the power structure/politics, I'm down 100% for that.

now granted I have not/and probably won't see the film, because after the "Dead Nigger Storage" scene in Pulp Fiction, I'm wary of anything involving Tarantino and race.

He kind of reminds me of those buttholes on the Internet who just say "nigger" like it's a preposition because there aren't any visible black people to put foot-to-ass (proverbial and otherwise) upon listening to it (see: Matt Drudge's Nigger Fit linked below by handle)

by the description, it kind of sounds like he's on the bullshit in that regard, but did OK for an action/western movie. just don't try to derive any meaning from it.

The political/racial statements QT makes (or doesn't make IMO) can't make up for an ultimately flat movie.

this is why i troll...shit like this DESERVES to be trolled.

and then you got niggas in here co-signing the lame shit like progressive niggas that snap they fingers after an awful poem at some dank ass hole in the wall where niggas gather to revel in their stupidity.

i can't wait to see this shit. i'm taking a pen and pad and just coming wit a big ass list of lame shit.

*edit...by the by...these dumb niggas cysing this dude's "eloquence" and the muhfucka don't even know difference between "hung" and "hanged"

i swear...these muhfuckas.

I'm only here to push your agendas along










Ba, I need a vacation. Just tired, dogg.

I'm dating a pretty hot chick. I need to go somewhere
warm, nigga. Hot, nigga. Have a DRANK in my hand, nigga.

No monuments. No "trying to get to know the people."

Fuck that.

Umbrella in my drank.

Umbrella in my drank.


I'm tired, Ba.

I don't know if my posting will descend into me being
black and angry...recall like back in 2006 I was making
niggas so mad re: QT that cats was sending me inboxes
asking me to stop posting because I was ruining their
childhood by making them question QT movies, that Pulp
Fiction helped him get through hard times and now
he don't enjoy, etc...that's why I stopped

Or if I'll just regress into an outright heckler, bereft
of any solid opinions on anything...only thing that keeps
me around is that I'm occasional serious and right about
things...when I lose that, I'm basically Beholdme



----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

listen, fellas, i respect your hustle. i get the whole mad nigga industrial complex. but, really, it starts looking sad and desperate when y'all fire this many shots at a movie you haven't even seen yet. it starts looking sad and desperate when y'all start breaking out your dictionaries and turning into grammar ladies to find some reason to be mad. by the way, morons:

http://www.merriam-webster.com/dictionary/virulent
"4: objectionably harsh or strong <virulent criticism>"

http://en.wikipedia.org/wiki/MacGuffin
"In fiction, a MacGuffin (sometimes McGuffin or maguffin) is a plot device in the form of some goal, desired object, or other motivator that the protagonist (and sometimes the antagonist) is willing to do and sacrifice almost anything to pursue, protect or control, often with little or no narrative explanation as to why it is considered so important."

but, oh, snap! he mixed up "hung" and "hanged"! yep, i knew it, django gonna be garbage!!

yeah, stop. it's sad. you're embarrassing yourselves. go back to the sports board. agenda trolling doesn't work here in PTP when you 1) start going at movies before you've seen them, 2) get desperate and go off on tangents about grammar and vocabulary, 3) pick targets this incredibly wrong for your agenda. do yourselves a favor and walk away from this post till you've seen the movie. spend the next two weeks in oksports lobbying for reggie bush as MVP, then go pay tarantino your money to see django unchained, THEN come back here and cry to everybody about it.

>http://www.merriam-webster.com/dictionary/virulent
>"4: objectionably harsh or strong <virulent criticism>"

You used it wrong. You've never used the word in your
life, nor have you ever read it. You don't understand
context, at all.

>http://en.wikipedia.org/wiki/MacGuffin
>"In fiction, a MacGuffin (sometimes McGuffin or maguffin) is a
>plot device in the form of some goal, desired object, or other
>motivator that the protagonist (and sometimes the antagonist)
>is willing to do and sacrifice almost anything to pursue,
>protect or control, often with little or no narrative
>explanation as to why it is considered so important."

You used Macguffin wrong. You don't really understand
what a plot device is. You said that in your post because
you thought it made you sound smart.

>but, oh, snap! he mixed up "hung" and "hanged"! yep, i knew
>it, django gonna be garbage!!

You can confuse whatever you want. Basa was saying that
its comedy that someone say you were "eloquent" when you
were literally the opposite of eloquent.

>yeah, stop. it's sad. you're embarrassing yourselves. go
>back to the sports board. agenda trolling doesn't work here
>in PTP when you 1) start going at movies before you've seen
>them, 2) get desperate and go off on tangents about grammar
>and vocabulary, 3) pick targets this incredibly wrong for your
>agenda. do yourselves a favor and walk away from this post
>till you've seen the movie. spend the next two weeks in
>oksports lobbying for reggie bush as MVP, then go pay
>tarantino your money to see django unchained, THEN come back
>here and cry to everybody about it.

Oh, QT gonna eat extremely well as long as niggas like you
keep writing reviews like that.

And that's better for me as a critic.

So if QT eat, I eat.

Ain't the universe a great place?

: - )




----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>Oh, QT gonna eat extremely well as long as niggas like you
>keep writing reviews like that.
>
>And that's better for me as a critic.
>
>So if QT eat, I eat.
>
>Ain't the universe a great place?
>
>: - )
>
>
>
>
>----------------------------
>
>Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it
>you? http://MatchShannon.com/
>
>
>
>
>
>
>
>O_E: "Acts like an asshole and posts with imperial disdain"
>
>
>
>
>"I ORBITs the solar system, listenin..."
>
>(C)Keith Murray, "

maybe if you keep joking about the words "virulent" and "macguffin," everyone will ignore the half dozen posts above where you demonstrate in paragraphs worth of detail that you have absolutely no idea what either of those words mean. you're not even arguing with me anymore, you're arguing with merriam-webster. good luck with that.

but what i'm definitely not gonna do is debate QT's virulent "f*** you" to the confederate south with someone who thinks i'm talking about a bacterial infection. what i'm definitely not gonna do is debate kerry washington's role as the macguffin with someone who hasn't seen the film and doesn't know what a macguffin is. so remedy all those situations first, then come talk to me about it. in other words, see you in two weeks. in the meantime, keep saving up your money and practicing these words: "one for django unchained, please."

you can drop that one.

O_E, pay for another movie and stroll right in.

>you can drop that one.
>
>O_E, pay for another movie and stroll right in.

How the fuck you think Tyler Perry movies make
so much?

According to my purchases, I saw Madea Goes to Jail
about four times (didn't see it once).

Yeah, I'm gonna lean children's movie. Probably grab
a Wreck It Ralph ticket and walk into Django.

Cheaper that way


----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

You got me fired up to see this shit. I don;t just break out the slow clap for anyone.

shit, my fingertips are burning, lol

"In short, this is the first film i've seen that accurately portrays the confederate south as-- in a history littered with slavery and genocide-- quite possibly the most morally corrupt society that has ever existed."

The film squats over and takes a shat on the romanticized notion that there was some grand Gone With the Wind high culture in the South worthy of preserving.

I can't understand any of the arguments that this film in any way glorifies the confederate South. And then in the same breath argues that the film uses the word nigger too much doesn't.make.any.sort.of.logical sense.

I understand why Drudge Report felt it was excessive. It reminds people how ugly white folks have been through most of its history. But why are black people complaining that the movie's depiction of slave owners was tooo....unpleasant?


100+ post in, you are winning the discussion.

**********
"naive as the dry leaves on the ground looking past the trees to the blue sky asking 'why me?'" -Blu

Why I still fuzz with the Lesson
http://open.spotify.com/user/brothersport86/playlist/3DhEhilho77Z0UCPbJlEJf

>But why are black people complaining that the
>movie's depiction of slave owners was tooo....unpleasant?

anyone complaining that the film's characters are too racist, that the N-words are too numerous is basically asking for a watered down depiction of slavery. which puts them squarely on the side of avowed racists who are pretending to be offended at the use of the N-word, but are really offended that slavery is being depicted as it was and slave owners are being depicted as the villains they were. it's like, look around you, folks. look at the people cheering the film-- film critics and awards, NAACP, henry louis gates-- and look at the people offended by it-- drudge, limbaugh, fox news-- and ask yourself whether you really think you're on the right side of history here.

>though the revenge fantasy is just as sweet as inglourious,
>the bravery required of the filmmaking here surpasses it.
>almost no one anywhere defends nazis. you can shoot hitler
>all day with impunity. the confederate flag, on the other
>hand, still flies-- legally protected from desecration in five
>states-- all over america. with django unchained, tarantino
>carefully unfurls that flag, holds it up high for public view,
>then takes a long, satisfying piss all over it.

interesting point here
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

in short, this is the first film i've seen
>that accurately portrays the confederate south as-- in a
>history littered with slavery and genocide-- quite possibly
>the most morally corrupt society that has ever existed.

I totally disagree with this statement. There's no way possible you think this is the most accurate account of slavery on film. That doesn't even make sense. There's 2 beatings, and one account of torture, and a murder (which wasn't even done by human hands). None of the other unmentionable dastardly deeds are shown.

>
>as for the performances, the chemistry between foxx and waltz
>is fire. i wish foxx had played it a little less low-key at
>times, as i thought it left django's character a bit lifeless,
>though i absolutely bought him as a gun-slinging cowboy. i'm
>curious what will smith would've done with the role, though i
>can see why he passed; the risk to the smith brand here
>would've been immense. no oscar nod is worth risking willow's
>next album. but really, this is a film carried by its
>supporting actors, the men django meets along his journey. in
>a just world, don johnson, leonardo dicaprio, and sam jackson
>would all be up for oscars. as it is, i think we'll have to
>settle for leo's first, in what for him is a career-defining
>performance. his calvin candie is every bit as charismatic
>and seething with quiet evil as waltz's villain in
>inglourious. the scene where he's explaining the intricate
>"differences" between the negro skull and the white skull is
>spectacular, showcasing the best of both leo and QT's skills
>and revealing the pure psychosis of 19th century racism (which
>necessarily had to be extreme to justify the scale and scope
>of the society they had built) in a way that most portrayals
>of slavery don't come close to. johnson and jackson have
>scenes and dialogue with similar effect. but the leo for
>supporting actor train boards here.

The best thing about the film is right here. The supporting performances in this film were incredible. Waltz was incredible, and Don Johnson was a gem in his small role.

>in short, this is the first film i've seen
>>that accurately portrays the confederate south as-- in a
>>history littered with slavery and genocide-- quite possibly
>>the most morally corrupt society that has ever existed.
>
>I totally disagree with this statement. There's no way
>possible you think this is the most accurate account of
>slavery on film. That doesn't even make sense. There's 2
>beatings, and one account of torture, and a murder (which
>wasn't even done by human hands). None of the other
>unmentionable dastardly deeds are shown.


Read that sentence again. He didn't say it was the most accurate account of slavery on film. Like, that's not even close to what he said.

_______________________________________________________________________________________
Everybody knows that the best way to Attack The Media Status Quo™ is... by posting on a message board!

>>in short, this is the first film i've seen
>>>that accurately portrays the confederate south as-- in a
>>>history littered with slavery and genocide-- quite possibly
>>>the most morally corrupt society that has ever existed.
>>
>>I totally disagree with this statement. There's no way
>>possible you think this is the most accurate account of
>>slavery on film. That doesn't even make sense. There's 2
>>beatings, and one account of torture, and a murder (which
>>wasn't even done by human hands). None of the other
>>unmentionable dastardly deeds are shown.
>
>
>Read that sentence again. He didn't say it was the most
>accurate account of slavery on film. Like, that's not even
>close to what he said.

You know you're right. I misread that statement. I still disagree about it though. I didn't get a feeling for the confederate south at all after seeing it. It seemed more like the focus on slavery and those involved than the people around it. But I understand his point that everyone was implicit and deserved retribution.

So he made a movie 200+ years later to give the
confederate south the f*** you it deserves.

The things I learn in PTP.



----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

god knows they've earned it.

Because they've earned it to.

And what about the midwest?

And west coast?

How about southeastern England?

When is their film?

n/m

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

you see how they reacted to this


if he does a wallstreet money sunk in slavery revenge film...
we might actually have a war on our hands



people can barely handle this flick
there there
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

People on Okayplayer.com think Quentin is destroying black America, Drudge commenters think he's destroying white America.

Read the comments.
http://www.hollywoodreporter.com/movie/django-unchained/review/399663

>People on Okayplayer.com think Quentin is destroying black
>America, Drudge commenters think he's destroying white
>America.
>
>Read the comments.
>http://www.hollywoodreporter.com/movie/django-unchained/review/399663


People are only saying that because Foxx talked about "killing all the white people" on SNL and the way the film's being advertised most people probably assume it's some sort of nat turner adaptation. Anyone who actually saw the film or read the script knows that the vast majority of the film is the complete opposite depiction w/ most of the screen time devoted to the torture and oppression of black slaves.

Nobody is saying QT is destroying black america btw. more that he is acting as significant accomplice in destroying the values and ethics of people in general and spreading social tension while lending credence to faux identity politics.

He didn't even call Hitler a n*gger!

(Leaves thread)

EDIT: Replaced i with *, I don't want to be accused on being a QT lover.

aka

wat

>Nobody is saying QT is destroying black america btw. more that
>he is acting as significant accomplice in destroying the
>values and ethics of people in general and spreading social
>tension while lending credence to faux identity politics.

___________________________________________________________________________
Bitch, don't kill my vibe.

n/m


----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

This nigga upstairs said Tarantino's is an accomplice to destroying ethics and causing social tension.

yet the pro-tarantinoites are the problem, lol.

Deep

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

i'm out.
_____________________
"WHOLESALE REUSABLE GROCERY BAGS!!"
@etfp

That's all.

Sigh.

n/m

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

And does this film further make you appreciate food?

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

the plot thickens!

http://www.hollywoodreporter.com/news/flight-django-unchained-naacp-image-401415



The National Association for the Advancement of Colored People (NAACP) announced nominations for the annual Image Awards on Tuesday.
our editor recommends
'Flight' Ensemble on Working With Denzel and Faking a Plane Crash (Exclusive Video)
'Django Unchained' Premieres in NYC as Raucous Tarantino, Foxx Bring Down the House
'Silver Linings Playbook,' 'Lincoln,' 'Les Mis' Top Film Noms from SAG; 'Modern Family' Leads TV

Winners will be announced during the two-hour event airing live on Friday, Feb. 1 on NBC.

PHOTOS: The 8 Studio Picks for Best Picture Oscar

Robert Zemeckis’ Flight, Quentin Tarantino’s Django Unchained will compete for best motion picture against Beasts of the Southern Wild, Red Tails and Tyler Perry’s Good Deeds. The Weinstein Company leads with four nominations, and Lionsgate and Paramount Pictures follow with four in the motion picture category.

On the television side, ABC and CBS lead the nominees in the TV categories with 20 and 12 nominations respectively, followed by HBO and Lifetime with 10 and NBC with nine.

See the complete list of nominations below:

MOTION PICTURE

Motion Picture
"Beasts of the Southern Wild" (Fox Searchlight Pictures)
"Django Unchained" (The Weinstein Company)
"Flight" (Paramount Pictures)
"Red Tails" (Lucasfilm)
"Tyler Perry's Good Deeds" (Lionsgate)

Actor in a Motion Picture
Denzel Washington - "Flight" (Paramount Pictures)
Jamie Foxx - "Django Unchained" (The Weinstein Company)
Morgan Freeman - "The Magic of Belle Isle" (Magnolia Pictures)
Suraj Sharma - "Life of Pi" (20th Century Fox)
Tyler Perry - "Alex Cross" (Summit Entertainment)

Actress in a Motion Picture
Emayatzy Corinealdi - "Middle of Nowhere" (AAFRM)
Halle Berry - "Cloud Atlas" (Warner Bros. Pictures)
Loretta Devine - "In The Hive" (Eone Entertainment)
Quvenzhané Wallis - "Beasts of the Southern Wild" (Fox Searchlight Pictures)
Viola Davis - "Won't Back Down" (20th Century Fox)

PHOTOS: Denzel Washington: His Life and Career in Pictures

Supporting Actor in a Motion Picture
David Oyelowo - "Middle of Nowhere" (AFFRM)
Don Cheadle - "Flight" (Paramount Pictures)
Dwight Henry - "Beasts of the Southern Wild" (Fox Searchlight Pictures)
Lenny Kravitz - "The Hunger Games" (Lionsgate)
Samuel L. Jackson - "Django Unchained" (The Weinstein Company)

Supporting Actress in a Motion Picture
Amandla Stenberg - "The Hunger Games" (Lionsgate)
Gloria Reuben - "Lincoln" (The Walt Disney Studios)
Kerry Washington - "Django Unchained" (The Weinstein Company)
Phylicia Rashad - "Tyler Perry's Good Deeds" (Lionsgate)
Taraji P. Henson - "Think Like a Man" (Screen Gems)

Independent Motion Picture
"Beasts of the Southern Wild" (Fox Searchlight Pictures)
"Chico & Rita" (GKIDS)
"Red Tails" (Lucasfilm)
"Unconditional" (Harbinger Media Partners)
"Woman Thou Art Loosed: On the 7th Day" (Codeblack)

International Motion Picture
"Chico & Rita" (GKIDS)
"For Greater Glory: The True Story of Cristiada" (ARC Entertainment)
"Special Forces" (eOne Films)
"The Intouchables" (The Weinstein Company)
"The Raid: Redemption" (Sony Pictures Classics)

PHOTOS: 43rd Annual NAACP Image Awards Red Carpet Arrivals

DOCUMENTARY

Documentary - (Theatrical or Television)
"Black Wings" (Smithsonian Channel)
"Brooklyn Castle" (Producers Distribution Agency)
"First Position" (IFC Films)
"Marley" (Magnolia Pictures)
"On the Shoulders of Giants - The Story of the Greatest Team You've Never Heard Of" (Showtime)

TELEVISION

Comedy Series
"Glee" (Fox)
"Modern Family" (ABC)
"The Game" (BET)
"The Mindy Project" (Fox)
"The Soul Man" (TV Land)

Actor in a Comedy Series
Anthony Anderson - "Guys with Kids" (NBC)
Damon Wayans, Jr. - "Happy Endings" (ABC)
Don Cheadle - "House Of Lies" (Showtime)
Donald Faison - "The Exes" (TV Land)
Hosea Chanchez - "The Game" (BET)

Actress in a Comedy Series
Amber Riley - "Glee" (Fox)
Cassi Davis - "Tyler Perry's House of Payne" (TBS)
Kellita Smith - "The First Family" (Syndicated)
Tatyana Ali - "Love That Girl" (TV One)
Wendy Raquel Robinson - "The Game" (BET)

Supporting Actor in a Comedy Series
Aziz Ansari - "Parks and Recreation" (NBC)
Craig Robinson - "The Office" (NBC)
Donald Glover - "Community" (NBC)
Lance Gross - "Tyler Perry's House of Payne" (TBS)
Tracy Morgan - "30 Rock" (NBC)

Supporting Actress in a Comedy Series
Anna Deavere Smith - "Nurse Jackie" (Showtime)
Gabourey Sidibe - "The Big C" (Showtime)
Gladys Knight - "The First Family" (Syndicated)
Rashida Jones - "Parks and Recreation" (NBC)
Vanessa Williams - "Desperate Housewives" (ABC)

Drama Series
"Boardwalk Empire" (HBO)
"Grey's Anatomy" (ABC)
"Scandal" (ABC)
"Treme" (HBO)
"True Blood" (HBO)

Actor in a Drama Series
Dulé Hill - "Psych" (USA)
Hill Harper - "CSI: NY" (CBS)
LL Cool J - "NCIS: Los Angeles" (CBS)
Michael Clarke Duncan - "The Finder" (FOX)
Wendell Pierce - "Treme" (HBO)

Actress in a Drama Series
Chandra Wilson - "Grey's Anatomy" (ABC)
Kerry Washington - "Scandal" (ABC)
Khandi Alexander - "Treme" (HBO)
Regina King - "SouthLAnd" (TNT)
Sandra Oh - "Grey's Anatomy" (ABC)

Supporting Actor in a Drama Series
Clarke Peters - "Treme" (HBO)
Dev Patel - "The Newsroom" (HBO)
Omar Epps - "House M.D." (FOX)
Rockmond Dunbar - "Sons of Anarchy" (FX)
Rocky Carroll - "NCIS" (CBS)

Supporting Actress in a Drama Series
Archie Panjabi - "The Good Wife" (CBS)
Joy Bryant - "Parenthood" (NBC)
Loretta Devine - "Grey's Anatomy" (ABC)
Lucy Lui - "SouthLAnd" (TNT)
Rutina Wesley - "True Blood" (HBO)

Television Movie, Mini-Series or Dramatic Special
"Abducted: The Carlina White Story" (Lifetime)
"Hallmark Hall of Fame's FIRELIGHT" (ABC)
"Raising Izzie" (GMC TV)
"Steel Magnolias" (Lifetime)
"Sugar Mommas" (GMC TV)

Actor in a Television Movie, Mini-Series or Dramatic Special
Afemo Omilami - "Steel Magnolias" (Lifetime)
Cuba Gooding, Jr. - "Hallmark Hall of Fame's FIRELIGHT" (ABC)
Michael Jai White - "Somebody's Child" (GMC TV)
Rockmond Dunbar - "Raising Izzie" (GMC TV)
Tory Kittles - "Steel Magnolias" (Lifetime)

Actress in a Television Movie, Mini-Series or Dramatic Special
Alfre Woodard - "Steel Magnolias" (Lifetime)
Jill Scott - "Steel Magnolias" (Lifetime)
Keke Palmer - "Abducted: The Carlina White Story" (Lifetime)
Phylicia Rashad - "Steel Magnolias" (Lifetime)
Queen Latifah - "Steel Magnolias" (Lifetime)

Actor in a Daytime Drama Series
Aaron D. Spears - "The Bold and the Beautiful" (CBS)
Erik Valdez - "General Hospital" (ABC)
James Reynolds - "Days of Our Lives" (NBC)
Kristoff St. John - "The Young and the Restless" (CBS)
Rodney Saulsberry - "The Bold and the Beautiful" (CBS)

Actress in a Daytime Drama Series
Angell Conwell - "The Young and the Restless" (CBS)
Julia Pace Mitchell - "The Young and the Restless" (CBS)
Kristolyn Lloyd - "The Bold and the Beautiful" (CBS)
Shenell Edmonds - "One Life to Live" (ABC)
Tatyana Ali - "The Young and the Restless" (CBS)

News/ Information - (Series or Special)
"Ask Obama Live: An MTV Interview with The President" (MTV)
"Judge Mathis" (Syndicated)
"Save My Son with Dr. Steve Perry" (TV One)
"Unsung" (TV One)
"Washington Watch with Roland Martin" (TV One)

Talk Series
"Don't Sleep!" (BET)
"Oprah's Lifeclass" (OWN)
"Oprah's Next Chapter" (OWN)
"The View" (ABC)
"Totally Biased with W. Kamau Bell" (FX)

Reality Series
"Dancing with the Stars" (ABC)
"Real Sports with Bryant Gumbel" (HBO)
"The X Factor" (FOX)
"Tia & Tamera" (Style)
"Welcome to Sweetie Pie's" (OWN)

Variety Series or Special
"Black Girls Rock" (BET)
"Oprah and the Legendary Cast of Roots 35 Years Later" (OWN)
"Oprah's Master Class" (OWN)
"The First Graduating Class: Oprah Winfrey Leadership Academy for Girls" (OWN)
"Verses & Flow" (TV One)

Children’s Program
"Degrassi" (TeenNick)
"Kasha and the Zulu King" (BET)
"The Legend of Korra" (Nickelodeon)
"The TeenNick HALO Awards 2012" (Nick@Nite)
"The Weight of the Nation for Kids" (HBO)

Performance in a Youth/ Children’s Program - (Series or Special)
China Anne McClain - "A.N.T. Farm" (Disney Channel)
Keke Palmer - "Winx Club" (Nickelodeon)
Loretta Devine - "Doc McStuffins" (Disney Junior block on Disney Channel)
Nick Cannon - "The TeenNick HALO Awards 2012" (Nick@Nite)
Tyler James Williams - "Let It Shine" (Disney Channel)

RECORDING

New Artist
Elle Varner (MBK / RCA)
Gary Clark, Jr. (Warner Bros. Records)
Lianne La Havas (Nonesuch Records Inc. / Warner Bros. Records)
Melanie Amaro (Epic Records)
The OMG Girlz (Pretty Hustle / Grand Hustle / Streamline / Interscope)

Male Artist
Bruno Mars (Atlantic)
Lupe Fiasco (Atlantic)
Miguel (ByStorm / RCA)
Trey Songz (Atlantic)
Usher (RCA Records)

Female Artist
Alicia Keys (RCA Records)
Elle Varner (MBK / RCA)
Estelle (Atlantic)
Missy Elliott (Atlantic)
Tamela Mann (Tillymann Music Group)

Duo, Group or Collaboration
Chuck D, Johnny Juice, Will.i.am, Herbie Hancock (Iconomy Multi-Media & Entertainment)
fun. feat. Janelle Monae (Atlantic)
Lupe Fiasco feat. Guy Sebastian (Atlantic)
Mary Mary (Columbia)
Ne-Yo, Herbie Hancock, Johnny Rzeznik, Delta Rae, Natasha Bedingfield (Forward Song, LLC)

Jazz Album
"Bone Appetit " - Jeff Bradshaw (Hidden Beach)
"Dreams" - Brian Culbertson (Verve Records)
"Renaissance" - Marcus Miller (Concord Jazz)
"Seeds From The Underground" - Kenny Garrett (Mack Avenue Records)
"The Preservation Hall 50th Anniversary Collection" - The Preservation Hall Jazz Band (Legacy)

Gospel Album - (Traditional or Contemporary)
"Best Days" - Tamela Mann (Tillymann Music Group)
"Go Get It" - Mary Mary (Columbia)
"God, Love & Romance" - Fred Hammond (Verity Gospel Music Group)
"I Win" - Marvin Sapp (Verity Gospel Music Group)
"Le'Andria Johnson The Experience" - Le'Andria Johnson (Music World Gospel / Music World)

World Music Album
"Ayah Ye! Moving Train" - KG Omulo (KG Omulo)
"Country, God, Or The Girl" - K'NAAN (A&M / Octone Records)
"Diversionary" - Brother B (King Chero Records)
"Wonderful Life" - Estelle (Atlantic)

Music Video
"Adorn" - Miguel (ByStorm / RCA)
"Girl On Fire" - Alicia Keys (RCA Records)
"Locked Out Of Heaven" - Bruno Mars (Atlantic)
"This Christmas" - CeeLo Green (Elektra)
"You're On My Mind" - KEM (Universal Motown)

Song
"Be Mine for Christmas" - KEM (Universal Motown)
"Glorify the King" - KEM (Universal Motown)
"I Look To You" - Whitney Houston and R. Kelly (RCA Records)
"Locked Out Of Heaven" - Bruno Mars (Atlantic)
"You're On My Mind" - KEM (Universal Motown)

Album
"Bad - 25th Anniversary Deluxe Edition" - Michael Jackson (Legacy / Epic)
"Girl On Fire" - Alicia Keys (RCA Records)
"I Will Always Love You: The Best Of Whitney Houston" - Whitney Houston (RCA Records)
"On the Shoulders of Giants - The Soundtrack" - Chuck D, Will.i.am, Herbie Hancock, Nikki Yannofsky (Iconomy Multi-Media & Entertainment )
"Perfectly Imperfect" - Elle Varner (MBK / RCA)

LITERATURE

Literary Work - Fiction
"A Wish and a Prayer: A Blessings Novel" - Beverly Jenkins (HarperCollins Publishers (William Morrow Paperbacks))
"Destiny's Divas" - Victoria Christopher Murray (Touchstone / Simon & Schuster)
"Silent Cry" - Dywane Birch (Strebor Books)
"The Reverend's Wife" - Kimberla Lawson Roby (Grand Central's Wife)
"The Secret She Kept" - ReShonda Tate Billingsley (Gallery Books, a division of Simon & Schuster)

Literary Work - Non-Fiction
"Fraternity" - Diane Brady (Spiegel & Grau (Random House))
"Guest of Honor: Booker T. Washington, Theodore Roosevelt, and the White House Dinner That Shocked a Nation" - Deborah Davis (Atria Books / Simon & Schuster)
"Power Concedes Nothing: One Woman's Quest for Social Justice in America, from the Courtroom to the Kill Zones" - Connie Rice (Scribner)
"The Courage to Hope" - Shirley Sherrod (Atria Books)
"The Oath: The Obama White House and the Supreme Court " - Jeffrey Toobin (Doubleday)

Literary Work - Debut Author
"A Cupboard Full of Coats" - Yvvette Edwards (HarperCollins Publishers (Amistad))
"Antebellum" - R. Kayeen Thomas (Strebor Books)
"Congo: Spirit of Darkness" - Mayi Ngwala (Genet Press)
"Nikki G: A Portrait of Nikki Giovanni in Her Own Words" - Darryl L. Lacy (Darryl L. Lacy (iUniverse))
"The Sister Accord: 51 Ways To Love Your Sister" - Sonia Jackson Myles (The Sister Accord, LLC)

Literary Work - Biography/ Auto-Biography
"Across That Bridge: Life Lessons and a Vision for Change" - John Lewis (Hyperion)
"Interventions: A Life in War and Peace" - Kofi Annan (The Penguin Press)
"The Black Count: Glory, Revolution, Betrayal, and the Real Count of Monte Cristo" - Tom Reiss (Crown Publishers)
"The Good Food Revolution: Growing Healthy Food, People, and Communities " – Will Allen (Gotham Books)
"The One: The Life and Music of James Brown" - RJ Smith (Gotham Books)

Literary Work - Instructional
"12 Ways to Put Money in Your Pocket Every Month Without A Part Time Job; The Skinny Book That Makes Your Wallet Fat" - Jennifer Matthews (Pickett Fennell Publishing Group)
"Formula 50: A 6-Week Workout and Nutrition Plan That Will Transform Your Life " – 50 Cent (Avery (Penguin Group))
"Health First: The Black Woman's Wellness Guide" - Eleanor Hinton Hoytt, Hilary Beard (SmileyBooks)
"It's Complicated (But It Doesn't Have to Be): A Modern Guide to Finding and Keeping Love" - Paul Carrick Brunson (Gotham Books)
"The No Excuse Guide to Success: No Matter What Your Boss or Life Throws at You" - Jim Smith, Jr. (Career Press)

Literary Work - Poetry
"Hurrah's Nest" - Arisa White (Virtual Artists Collective)
"Maybe the Saddest Thing" - Marcus Wicker (HarperCollins Publishers (Harper Perennial))
"Speak Water" - Truth Thomas (Cherry Castle Publishing)
"The Ground" - Rowan Ricardo Phillips (Farrar, Straus and Giroux)
"Thrall" - Natasha Trethewey (Houghton Mifflin Harcourt)

Literary Work - Children
"Fifty Cents and a Dream" - Jabari Asim (Author), Bryan Collier (Illustrator) (Little,nBrown Books for Young Readers)
"Harlem's Little Blackbird" - Renee Watson (Author), Christian Robinson (Illustrator) (Random House Books for Young Readers (Random House Children's Books))
"In the Land of Milk and Honey" - Joyce Carol Thomas (Author), Floyd Cooper (Illustrator) (HarperCollins / Amistad)
"Indigo Blume and the Garden City" - Kwame Alexander (Word of Mouth Books)
"What Color is My World?" - Kareem Abdul-Jabbar (Author), Raymons Obstfeld (Author), A.G. Ford (Illustrator) (Candlewick Press)

Literary Work - Youth/Teens
"Fire in the Streets" - Kekla Magoon (Simon & Schuster Children's Publishing)
"Obama Talks Back: Global Lessons - A Dialogue With America's Young Leaders" - Gregory Reed (Amber Books)
"Pinned" - Sharon G. Flake (Scholastic Press)
"The Diary of B. B. Bright, Possible Princess" - Alice Randall (Author), Caroline Williams (Author), Shadra Strickland (Illustrator) (Turner Publishing Company)
"The Mighty Miss Malone" - Christopher Paul Curtis (Wendy Lamb Books (Random House Children's Books))

WRITING

Writing in a Comedy Series
Karin Gist - "House of Lies" - Mini-Mogul (Showtime)
Marc Wilmore - "The Simpsons" - The Spy Who Learned Me (FOX)
Michael Shipley - "Last Man Standing" - High Expectations (ABC)
Prentice Penny - "Happy Endings" - Meet the Parrots (ABC)
Vali Chandrasekaran, Robert Carlock - "30 Rock" - Murphy Brown Lied to Us (NBC)

Writing in a Dramatic Series
Cheo Hodari Coker - "SouthLAnd" - God's Work (TNT)
Janine Sherman Barrios - "Criminal Minds" - The Pact (CBS)
Shonda Rhimes - "Grey's Anatomy" - Flight (ABC)
Shonda Rhimes - "Scandal" - Sweet Baby (ABC)
Zoanne Clack - "Grey's Anatomy" - This Magic Moment (ABC)

Writing in a Motion Picture - (Theatrical or Television)
Elizabeth Hunter - "Abducted: The Carlina White Story" (Lifetime)
John Gatins - "Flight" (Paramount Pictures)
John Ridley, Aaron McGruder - "Red Tails" (Lucasfilm)
Keith Merryman, David A. Newman - "Think Like a Man" (Screen Gems)
Ol Parker - "The Best Exotic Marigold Hotel" (Fox Searchlight Pictures

http://www.youtube.com/watch?v=cSYhBuzDD7g

but that's from the BET Awards

by actually seeing the film. would somebody who hasn't seen it please explain to them how racist it is?

Now THAT was a masterpiece

I especially liked the love interest thing they
threw in there on the last day of shooting, just
to jazz it up a tad, make it less virulent

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Can you say Garbage in French though???


"Inspectah Deck, he's like...he's like that dude thatta sit back and watch you play yourself and all that right? And see you sit there and know you lyin; and he'll take you to court after that, cuz he the Inspectah."

Did you just say "let's hope"?

As in you've got HALF the replies in here without having seen this?

Goodness.

You are mad as shit dude.

who can trace when it began exactly where differences in opinion or harsh criticisms of something led to personal attacks on people's self-worth, values, intellect, etc?

not placing blame on anyone person, or really focusing on any one topic, just noticed much of what is being debated has little to do with THIS movie, moreso retaliation for previous movies/discussions.

i'm hardly saying we need to join hands and kumbaya it out, but it basically reduces any movie post that has controversy or "history" on OKP to a minefield waiting to be set off at anytime. there's enough intelligent people on here to not need to result to insults when disagreeing but it seems to be the way of life on here and has been for a very long time.

If you have a problem with how we're posting
about a movie, just say it.

Using Radin to to establish moral high ground is inappropriate,
so inappropriate that I think this post should probably be
locked or at least your post deleted.


----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

.

instead of you actually ADDRESSING my question, you're on to some otherness...

i didn't name names, i actually don't have a problem but i would like to know where it started...


>If you have a problem with how we're posting
>about a movie, just say it.
>
>Using Radin to to establish moral high ground is
>inappropriate,
>so inappropriate that I think this post should probably be
>locked or at least your post deleted.

i don't believe you or anyone else has the monopoly on mention of an untimely deceased poster. i can't deny that cats put their guns down for a minute and actually just communicated for a minute. in order for my point not to get washed away or lumped in as fodder or crying or some other snark shit, i prefaced it with that, and HONESTLY wonder when it started or if it had always been.

there's no moral high ground at all, or else i would have said "THIS SHIT HAS TO STOP" i made it quite clear it wasn't taking shots or bashing anyone. you think i have a problem with calling someone out? you're clearly not paying attention.

but i did write with an expectation of an actual answer to the question, which has yet to be provided.

good job

you call yourself a critic who will get paid if this movie makes bank so you'll be honest and fair there. my question is why do so many (far from just you) take to personal insults if someone disagrees on movie tastes? now you can write ten more paragraphs about instructions for the mere mention of Radin or perhaps you or SOMEONE will answer the question.

couldn't help himself and came back 25 replies later to argue. all this for a movie he presumably hasn't seen yet (the people your friend Basa hates btw).

>couldn't help himself and came back 25 replies later to
>argue. all this for a movie he presumably hasn't seen yet (the
>people your friend Basa hates btw).

I'm not even talking about the movie

I'm talking about the history of the confederacy,
virulence and plot devices

So fall back

that you haven't seen yet.

what??? people think a movie means different things? shocking.

>that you haven't seen yet.
>
>what??? people think a movie means different things?
>shocking.

Movie could be a masterpiece for all I know

But if its a "virulent f*** you to the confederate south," then
I question the motives, because the confederate south doesn't
need a "f*** you" in 2012 and this coming from a descendent
of slaves from North Carolina.

Place was burned to the ground post civil war which probably made
it harder for blacks in the South in the long run -- by destroying southern
infrastructure, it encouraged a lawlessness, created a larger white
underclass who scapegoated blacks even worse

Black people ain't ask for all that

Just for some freedom, right to wages

Again: all that was vengeance and white men exerting their
power and authority

Black people was down souf like: "Ummm we free, they took an
L over the war, fall back with all these hydrogen bombs, B, they
got the fucking message"

black people didn't need the south burned to the ground for Rosewood
to blossom Blacks were self reliant, happy to go toe to toe with whites
in the economy.....umm, they already knew how to grow crops
better than whites

After the south was burned to the ground, wasn't nothing there
for blacks to do but go back to work on plantations in chain
gangs, move north, or buy a cowboy hat and move west


----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

nazis don't need any more bad press either, but inglourious won't be the last movie about how bad nazis were. nor should it be.

the movie takes place before the civil war, so we don't know the character's or filmmaker's view of the civil war, emancipation, or the aftermath of either of those. it's just dealing with one guy's struggle to be free and exact revenge on slave owners. is a post-civil war movie more necessary/relevant? probably, but why is that on QT? he wasn't trying to make that film. if anything, this complaint lies more on Lincoln than Django.

more simply: i haven't seen the film, but from the ads/trailers it looks like he's mostly going for comedy, so imo this discussion is already WAY too serious for this film. there's two types of comedy films: funny and unfunny. that doesn't absolve them of all social responsibility or necessity, but pretty close.

>if anything, this complaint lies
>more on Lincoln than Django.

"For all the people saying that you didn't need
to show the evils of slavery to make the film:

Trust me, I was ready to pounce on black bohosexuals
for crying about Frederick Douglass, and after I saw it
I'm sad to admit that they had a point

Not about Douglass specifically, but the greater point:

The movie is impotent if we don't give a fuck about why
slavery is bad, and no, contrary to the assumptions of the
filmmaker(s), that isn't the type of thing that is just
assumed."

Is it different here because it's a less "serious" movie? Or it's seen as being self-indulgent or gratuitous on Tarantino's part?

Are you comparing a Spaghetti Western set in slavery
times to a political drama about the 13th amendment?

Pass the Popcorn, folks.

I mean, goddamn.


----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>Are you comparing a Spaghetti Western set in slavery
>times to a political drama about the 13th amendment?

But honestly, at this point I'm having a hard time remembering what the fuck we're all debating at this point.

You're a smart dude. I respect your opinion. I know that comparison doesn't really hold water, but we're all just trolling here, right?

And you know what, if people find this movie offensive, who the fuck am I to tell 'em they're wrong. Shit, I might find it offensive. I haven't seen it yet so I don't know.

It's not like dude is infallible. I don't think QT revolutionized the use of food in film or reinvented modern cinema. I like some of his shit well enough, but he's far from one of my favorite directors. I'll say this sucks if I see it and I think it sucks.

Whatever.

If we're being honest, I've been getting increasingly tired of his shtick. I'm hoping this will be good, but, who knows. Reviews haven't been bad as some people are saying, or as good as other people are saying. They're mostly in the "B" range.

As for the charges of racism, I tend to think he primarily wanted to a do a "revenge fantasy" and thought "what better than having slaves get revenge on their masters?" It's a not a tasteful decision no matter how you slice it, but on the flipside, there ain't a rule that says shit has to be tasteful. He probably believes he's "taking a piss on the Confederate flag," but whether or not he's actually doing it is a different story. (And whether or not the flag actually needed to be pissed on is a different story, too.)

Fuck it. I'll be back after I actually see it to weigh in.

You need to relax, breathe


----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

http://www.theatlantic.com/entertainment/archive/2012/12/the-django-wars/266215/

the comparison between lincoln and django is obvious: two really good films about slavery that both refreshingly show utter contempt for the confederate south, treating it as the wretched hive of scum and villainy it was. (best casting of the year: jackie earle haley, formerly freddy krueger in the elm street remake and a child molester in little children, playing confederate states of america VP alexander stephens in lincoln). you really are on the wrong side of this, O_E. the sooner you realize it, the better.

>http://www.theatlantic.com/entertainment/archive/2012/12/the-django-wars/266215/
>
>the comparison between lincoln and django is obvious: two
>really good films about slavery that both refreshingly show
>utter contempt for the confederate south, treating it as the
>wretched hive of scum and villainy it was. (best casting of
>the year: jackie earle haley, formerly freddy krueger in the
>elm street remake and a child molester in little children,
>playing confederate states of america VP alexander stephens in
>lincoln). you really are on the wrong side of this, O_E. the
>sooner you realize it, the better.

You posting hipster reviews that make the exact same arguments
as every other hipster

This is HELPING my cause, Einstein

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Hey that's Star Wars!

when this movie doesn't even touch the civil war. lincoln is a movie that covers the civil war and it's president, and doesn't address the post-civil war south.

so how is this on tarantino?

the best thing i can say about your analysis of reconstruction is that you spelled "north" and "south" correctly. everything else is spectacularly wrong. you should probably go back to analyzing the movie you haven't seen. you were way better at that.

for posterity:

>Place was burned to the ground post civil war which probably
>made
>it harder for blacks in the South in the long run -- by
>destroying southern
>infrastructure, it encouraged a lawlessness, created a larger
>white
>underclass who scapegoated blacks even worse
>
>Black people ain't ask for all that
>
>Just for some freedom, right to wages
>
>Again: all that was vengeance and white men exerting their
>power and authority
>
>Black people was down souf like: "Ummm we free, they took an
>L over the war, fall back with all these hydrogen bombs, B,
>they
>got the fucking message"
>
>black people didn't need the south burned to the ground for
>Rosewood
>to blossom Blacks were self reliant, happy to go toe to toe
>with whites
>in the economy.....umm, they already knew how to grow crops
>better than whites
>
>After the south was burned to the ground, wasn't nothing
>there
>for blacks to do but go back to work on plantations in chain
>gangs, move north, or buy a cowboy hat and move west

Your tired ass contrarian routine has gotten really old. How do you try so hard to oppose shit to the point you come off looking like a poser. That's quite a feat. If you don't like somethin simply just ignore it and move on with your life. Why wase all this time and energy badly trying to bash it.

sorry a few of us are fuckin up this ridiculous circle jerk.

This shit right here though:

"I wonder if I made a movie where a black man rapes jewish men and women and says kike over 100X but dies in the end would it be acceptable."


I can't say I don't see his point...


I get that it's QT's art/form of expression but....Wow... It just doesn't seem right on any level.


I just saw the thread so I'ma read through...but what say you all? What constitutes racism to you all. Is Black America giving Tarantino a pass or are cats overreacting?

Which seems to boil down to one of the popular criticisms on both sides.

>"I wonder if I made a movie where a black man rapes jewish men
>and women and says kike over 100X but dies in the end would it
>be acceptable."
>
>
>I can't say I don't see his point...

The problem is that this is the same point that the 'oh, it wasn't so bad' slavery denial crowd has, lol.

SLAVERY WAS VICIOUS AND SHOULD BE FUCKING HARD TO WATCH ON SCREEN.

Now, we can argue that Tarantino making it the backdrop of one of his set-pieces might be in bad taste...THAT's a legit gripe(or not, we will have to wait and see). But you know would would be in WORST taste? Watering it down.

I better see slave masters being as DESPICABLE as possible. That includes throwing the N word a million times, raping women, beating/mistreating/killing slaves. No matter who directs it; it should be offensive to watch no matter what the genre/purpose.

Having the slave masters simply being 'mean' to the slaves misses the whole point, because then people start to forget...

I mean, look at the comment section linked above:

http://www.hollywoodreporter.com/movie/django-unchained/review/399663

You've got people INSISTING slavery wasn't bad and that their masters were kind/they wanted to live with them, LOL.

Like I said above, having it as a backdrop in a Tarantino action romp may be in bad taste. But if they have to use it, it better be fucking vicious. Anything less would be like having friendly Nazi guards trying to prove underneath it all 'They are really good people!' since everyone wants to make a Jewish correlation with this movie (and it's really apple and oranges)

It's like people want to forget the past.

That's what the defenders are saying.

I'll go in there with those expectations.

Appreciate it.

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Unlike you, lol. But complaining that the slavery is too harsh on film is a WTF moment to me, lol.

Word Son... I feel that response..

Despite what the movie may be about...especially since folks are trying to "offer an excuse" or highlight grains of socio-political commentary in this film...

This film helps no one....and I guess we're stuck between defining what it is supposed to be and what it really is or what it *intends* to represent.

Is this strictly for entertainment?

Is this an (expired) piece of socio-politcal commentary?

If entertainment...then entertainment for whom???

If "medicine wrapped in candy"...What sickness are we treating exactly?

What I've gleaned so far is that what subject matter needs to be serious isn't serious enough *if* this is *intended* as a teaching device....

How do you cite historical context as justification when you have to take creative license to infuse humor? If there is a message it has just been cheapened...

In short, that makes this product a lie... a mere device that sows discord.. Ain't shit entertaining about slavery



I dunno man.... Is it even possible to accurately name something nowadays?

I say ask Tarantino exactly what he calls this and decide for yourself whether or not his vision (as described by him) is bullshit...

One revenge fantasy does not soothe generations of scarred psyches

"Ayo the Devil planted fear inside the Black babies.." - GFK


Now the generations of trauma are trivialized.


So far, I call bullshit.


"Inspectah Deck, he's like...he's like that dude thatta sit back and watch you play yourself and all that right? And see you sit there and know you lyin; and he'll take you to court after that, cuz he the Inspectah."

>In short, that makes this product a lie... a mere device that
>sows discord..

I want discord and argument.

Im hoping the movie is good, but even if it ISN'T, just off the mad making it's been worth it.

We've all gotten a bit too comfortable with 'this post race' nonsense; let there be anger in the streets...it's better then the 'There is no racism' denial that Europe seems to have (while hating on arab/african immigrants)

This is a conversation that has nothing to do with the movie though, but id be willing to revisit it in a better place/time.

I don't mind discord as long as there's discussion....at least an attempt for folks to come to an accord...

What I meant though was that this film appears to be held sacred before it can be properly dissected.

Folks are staking "standards of blackness" on whether you would support this film or not. Lots of folks seem to feel disrespected and dismissed.

That term "hater" is also popping up loosely as well as the dynamic of censure.

My first mention of discord was meant to speak to folks being dismissive of the weight of the subject matter addressed...and the apparent undertone that this film seems to be affecting "black identity" somehow...


"Inspectah Deck, he's like...he's like that dude thatta sit back and watch you play yourself and all that right? And see you sit there and know you lyin; and he'll take you to court after that, cuz he the Inspectah."

That's easy for you to say behind your damn keyboard. You'll be nowhere near the shit if it starts, which it won't

>That's easy for you to say behind your damn keyboard. You'll
>be nowhere near the shit if it starts, which it won't

You guys kill me.

We dont need it. Your dischord and discourse is in that Hollywood reporter comments section. Nobody needs any more of that

I would, lol.

>We dont need it. Your dischord and discourse is in that
>Hollywood reporter comments section. Nobody needs any more of
>that

For many in Middle America we are in a post-racial Benneton ad where white people have wiped racism clean, so much so that anti-white racism(immigrants and negros getting our job through afirmative action!) is MORE of a problem , lol.

It's why when all those high school kids got caught by gawker with their racist tweets after the election the number one excuse (outside of saying someone 'hacked' their account) that they were 'joking.'

If this movie ends up being "Birth of A Nation 2: Electric Bugalaloo", I would LOVE it, because then you would have groups being all apologetic, other groups on some 'Yeah, he's right, darkies are worthless' etc.

Let's me know where everyone stands, lol. Ignorance breeds underground, shine a light on em all.

People read those hollywood reporter comments and think it's a bunch of hicks in West Virginia when in reality those are their parents/friends/SO's, etc.

Bring em out in the light.

>Word Son... I feel that response..
>
>Despite what the movie may be about...especially since folks
>are trying to "offer an excuse" or highlight grains of
>socio-political commentary in this film...
>
>This film helps no one....and I guess we're stuck between
>defining what it is supposed to be and what it really is or
>what it *intends* to represent.

>Is this strictly for entertainment?
>
>Is this an (expired) piece of socio-politcal commentary?
>
>If entertainment...then entertainment for whom???
>
>If "medicine wrapped in candy"...What sickness are we treating
>exactly?
>
>What I've gleaned so far is that what subject matter needs to
>be serious isn't serious enough *if* this is *intended* as a
>teaching device....
>How do you cite historical context as justification when you
>have to take creative license to infuse humor? If there is a
>message it has just been cheapened...
>
>In short, that makes this product a lie... a mere device that
>sows discord.. Ain't shit entertaining about slavery
>
>
>
>I dunno man.... Is it even possible to accurately name
>something nowadays?
>
>I say ask Tarantino exactly what he calls this and decide for
>yourself whether or not his vision (as described by him) is
>bullshit...
>
>One revenge fantasy does not soothe generations of scarred
>psyches

you nailed it with all your points tho fam. I have no real desire to see this, or at least pay for it. Quentin Tarantino trades in "nigger" stock; this is like his IPO of it. I'm distrustful of him and his true motivations so was down on this idea the second I heard it.

I don't see how this will be HELPFUL. People already refuse to acknowledge how bad slavery or its vestiges have been, they can put this movie under the cover of "it's a Quentin Tarantino movie, all of his stuff is over the top" and whatever intended message he's trying to send (if taking him at good faith) would be lost. If it's taken seriously, it will be pegged as race baiting and trying to incite disharmony among the races in the "Obama era."

It will make money for sure. But I don't see it providing society with any enlightenment.

I can't say he doesn't have talent.

I can say that his use of the word nigger is gratuitous and somewhat offensive.

I can say that I find some of his characters and images questionable.

For example:

A rich, Black gangster who is married to a white actress, chili pimps said wife to his Italian, heroin addicted hitman who happens to be "his nigga", and ultimately gets abducted by rednecks and is anally raped by them..

...while ball gagged....

"What does Marcellus Wallace look like???!!???!.." <~indeed


He can tell a story when he's focused. Pulp style storytelling and the "modern/retro 'B' movie" is his shit. He does well with those vehicles... I rather enjoyed Inglorious Basterds...

but...


Reginald Hudlin be damned.... That does not earn you a "PASS" to live action, Tex Avery...slavery...

...and did I mention that his nigger usage is gratuitous???

I just doesn't feel right....



"Inspectah Deck, he's like...he's like that dude thatta sit back and watch you play yourself and all that right? And see you sit there and know you lyin; and he'll take you to court after that, cuz he the Inspectah."

>SLAVERY WAS VICIOUS AND SHOULD BE FUCKING HARD TO WATCH ON
>SCREEN.

If you read the negative reviews, you'll see a bit of a consensus on its pacing and editing issues.

I mean, I'm sure they'll come, but anything I've read talking about pacing and shit like that is saying it's essentially a relatively minor issue.

of people who haven't seen the movie and aren't gonna take it anymore.

Being that he understands race so well and knows how to deliver
virulent fuck yous to the confederate south

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

and you still mad!

asshole.

http://twitter.com/CurtisScoon/status/283786167697158145

___________________________________________________________________________
Bitch, don't kill my vibe.

thanks guys.

V.

Should I throw down the hot 12 bucks to see this on Christmas Day? Is the dialogue on point? How are the action scenes?

http://www.rottentomatoes.com/m/django_unchained_2012/

i figured it'd be hovering around 50-60%, given the subject matter. just seemed like one of those polarizing love-or-hate films. but like i said, it really is a masterpiece. QT's been hit or miss in the past, but he's really hitting his stride as a writer/director with these historical revenge flicks.

it's flawed but wildly entertaining

>it's flawed but wildly entertaining

Yeah, that's how I described Naked Gun 33 1/3

Right about as good as that?

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Can you make this your Final Insult here?

http://movie-posters.lucywho.com/naked-gun-33-1-3-the-final-insult-movie-posters-t638535.html

http://www.wearysloth.com/Gallery/ActorsS/19466-13393.gif

Naked Gun 33 1/3, that is

I'm wondering if Django Unchained was any better

----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>
>Naked Gun 33 1/3, that is
>I'm wondering if Django Unchained was any better
>
You are lying.

Or did you think it wasn't wildly entertaining?

Or both?


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Probably my new favorite performance by him. Be warned though, the movie is a mixed bag at best.


>Should I throw down the hot 12 bucks to see this on Christmas
>Day? Is the dialogue on point? How are the action scenes?

I'm working through Christmas but will be there on the 27th to check it out.

but might have to reconsider after reading this thread
just so i can appreciate the bleeding edge mad making that will ensue in here
got damn, yall better hope OE is too busy playing with his christmas toys on tuesday and can't go see this

btw i'd love to know the real reason why Will turned this down
we already know Sam Jack has questionable integrity when a paycheck is involved
and Foxx is 45+ yrs old and still taking dick pics and getting head tattoos
so those dudes being the two A list black actors involved with this doesn't exactly dissuade me from giving credence to ppl like Spike Lee's criticism of this film

his brand shits all over QT's financially AND artistically.

Making a slavery comedy version of 48 hours meets the good bad and the ugly would be goofy as shit on will smith's part. Actually, it's goofy as shit as a premise, but, y'know....

http://www.imdb.com/title/tt0120891/

>Making a slavery comedy version of 48 hours meets the good bad
>and the ugly would be goofy as shit on will smith's part.
>Actually, it's goofy as shit as a premise, but, y'know....


i'm out.
_____________________
"WHOLESALE REUSABLE GROCERY BAGS!!"
@etfp

___________________________________________________________________________
Bitch, don't kill my vibe.

http://www.theroot.com/views/tarantino-unchained-part-2-n-word

By: Henry Louis Gates Jr.
Posted: December 24, 2012 at 12:33 AM

In the second of a Q&A series, he talks critics and Django's depiction of slavery with Henry Louis Gates Jr.

(The Root) -- Since 1994's Pulp Fiction, the n-word been an issue -- not so much for Quentin Tarantino but for some of the viewers of his films. Why does he use it so liberally in his movies?

Things are no different with his latest film, Django Unchained, opening Christmas Day. In the postmodern, slave-narrative Western starring Jamie Foxx, Christoph Waltz and Leonardo DiCaprio as sadistic plantation owner Calvin Candie, the word "nigger," by some counts, is uttered 110 times.

In the second part of a three-part interview with The Root's editor-in-chief, Henry Louis Gates Jr., Tarantino explains exactly how he feels about critics of the n-word use in Django. The filmmaker also chats with Gates about the graphic and shocking ways he chose to depict the atrocities of slavery in the film and how he conceived of Samuel L. Jackson's despicable character, Stephen, Candie's head house slave.

Henry Louis Gates Jr.: Spike Lee's on your ass all the time about using the word "nigger." What would you say to black filmmakers who are offended by the use of the word "nigger" and/or offended by the depictions of the horrors of slavery in the film?

Quentin Tarantino: Well, you know if you're going to make a movie about slavery and are taking a 21st-century viewer and putting them in that time period, you're going to hear some things that are going to be ugly, and you're going see some things that are going be ugly. That's just part and parcel of dealing truthfully with this story, with this environment, with this land.

Personally, I find ridiculous. Because it would be one thing if people are out there saying, "You use it much more excessively in this movie than it was used in 1858 in Mississippi." Well, nobody's saying that. And if you're not saying that, you're simply saying I should be lying. I should be watering it down. I should be making it more easy to digest.

No, I don't want it to be easy to digest. I want it to be a big, gigantic boulder, a jagged pill and you have no water.

HLG: Well, guess what? You succeed at that. One of the things that will disturb people much more than the use of the n-word, or much more even than the horrors of slavery, was Samuel L. Jackson's amazing depiction of Stephen . His character, Stephen, makes Stepin Fetchit look like Malcolm X. Did you write that or did Sam riff on that? Was he improvising?

QT: Sam is a good writer. Some actors try to improvise and everything, but you know, frankly, if they're not just adding "mmms" and "aahs" or cusswords, that's actually called writing, and that's usually not what you hire actors to do. Having said that, he sprinkles the dialogue with his own little bit of Sam Jackson seasoning. But that character is on the page.

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And it was actually funny, because I talked to Sam on the phone after he had the script. When Sam heard I was writing it, I think he just assumed I was writing Django for him. And I think maybe I even kind of assumed that when I was writing it earlier on.

I think my idea initially -- very, very initially -- was I was gonna show Django's little origin story in a couple of scenes and then hop to after the Civil War. And have it be a Sam Jackson, older character. And then I decided, no, I can't do that. I'm missing the most important part of the story. So I decided to stay with the younger character.

So as I'm talking to Sam Jackson on the phone, I go, "As you can see, I kind of went a different way with the character. You're about 15 years too old for him."

"Yeah, I noticed that."

"So what do you think about Stephen?"

"What do you mean, what do I think about him?"

I go, "Do you have any problem playing him?"

"Do I have any problem playing the most despicable black motherf--ker in the history of the world?" "No, I ain't got no problem with that. No, man, I'm already in it. I'm working with my makeup guy now about the hair, the skin tone. I want this man to be fresh off the boat."

HLG: Why was it important for you to set up an opposition between the baddest black cowboy in the West, as Django, and the biggest Uncle Tom in the history of film, as Stephen? Why is that binary opposition important to your narrative structure?

QT: I've been dealing with this whole Western adventure idea , which has been playing out for a while -- and it's been playing out pretty good -- and then we go through that almost Heart of Darkness section, the procession to the Candieland plantation, and then getting to the Big House. But then when we get to the Big House, my idea is of the plantation owner at that time that had a big industrial, architectural plantation. I mean, the fourth-largest cotton plantation in Mississippi, which is what Candie's is -- that's like owning Dole Pineapple or something today. It's a big, moneymaking, commercial enterprise. And a plantation could be 40 miles long or 65 miles long or something.

HLG: Oh, the greatest economic boom in the history of the United States up until that time was from the cotton plantations in Mississippi, Alabama and Georgia.

QT: Absolutely. And when you don't have to pay workers anything, you can have a family-run corporation. So you have all these slaves that are living on the plantation, and the plantation owner actually owns them; they're his property. But then you have all the white workers who also live on the grounds with their lives and their kids. So you have an entire community living on this piece of land. And when it's big enough and you have enough people there, those plantation owners literally are kings ...

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Exactly like the way a king can own their subjects and put them to death, they can do that with complete impunity when it comes to the slaves and pretty much do that with the poor whites, just without complete impunity. They have to come up with a way to do it. But they can still do it nevertheless.

And so the thing about it is in a fairy-tale term, they're going to the evil kingdom. And Broomhilda is the princess in the tower.

HLG: And you named that explicitly by including the tale within the tale, the myth within the myth.

QT: But when I actually got to Candieland, if we were going to really do this subject justice, we had to deal with the social strata that happens inside the plantation versus the field -- the kind of upstairs-downstairs aspect of how things work between the house slaves and the field slaves.

And in the script I wrote a big description for Stephen, and I said, "He's sort of like the characters that Basil Rathbone would play in adventures and swashbucklers, where he's the evil guy who has the king's ear. And he sits at the king's side whispering in the king's ear, holding on to his little fiefdom, and manipulating everybody through intrigues of thforum=4&page=2" "Mozilla/4.0 (compatible; MSIE 7.0; Windows NT 6.1; Trident/4.0; SLCC2; .NET CLR 2.0.50727; .NET CLR 3.5.30729; .NET CLR 3.0.30729; Media Center PC 6.0; InfoPath.3; .NET4.0C; .NET4.0E)"
206.16.96.210 - - "GET /images/new_icon_general.gif HTTP/1.1" 304 134 "http://board.okayplayer.com/okp.php?az=show_topics&forum=4&page=2" "Mozilla/4.0 (compatible; MSIE 7.0; Windows NT 6.1; Trident/4.0; SLCC2; .NET CLR 2.0.50727; .NET CLR 3.5.30729; .NET CLR 3.0.30729; Media Center PC 6.0; InfoPath.3 wasn't really dealing with the story.

HLG: Let me ask you this, though. What about making Django Superman? How did he manage to dodge all those bullets and ride off unscathed? Obviously that's the mythic ending. Why was it important to keep him alive and make him a superhero rather than, as you say, killing him off?

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QT: On one hand, yeah, he doesn't get hit by these guys. At the same time, we actually show that they're such bad shots that they keep shooting each other.

But one of the things that I had to do -- nobody brings it up, and it's such a big deal -- you're used to seeing Hong Kong movies where guys have .45 automatics and Uzis, and they can do this and they can do that. You know, Django has six shots in each gun, and that's it. And this was before the time when they had actual case shells.

So it's like everything has to be prepared in that cylinder -- where it's like a little ball of lead, and the gun powder ... There's no, just like, emptying out your chamber and reloading. You have to prepare . So in that whole big gunfight, his one big job is to keep killing guys and taking their guns from them.

It was interesting, because on one hand I'm telling a historical story, and when it comes to nuts and bolts of the slave trade, I had to be real and had to tell it the right way. But when it comes to more thematic things and operatic view, I could actually have fun with stylization -- because it is taking parts from a spaghetti Western. And I am taking the story of a slave narrative and blowing it up to folkloric proportions and to operatic proportions that are worthy of high opera.

So I could have a little fun with it. One of the things I do is when the bad guys shoot people, the bullets usually don't blow people apart. They make little holes and they kill them and wound them, but they don't rip them apart. When Django shoots someone, he blows them in half.

HLG: I noticed that.

QT: And so obviously that I wasn't worried about historians having a hissy fit, because I made it so obvious in using the spaghetti Western ideal that life is cheap but death is expensive -- death has a price. I made the slaves unnaturally low for what they cost, selling them back and forth, but I made the bounties outrageously high.

HLG: I wondered about that. Why did you do that?

QT: That's just kind of a spaghetti Western thing. Life is cheap. Life is dirt. Life is a nickel. Life is a buffalo nickel. Life is a wooden nickel. But death is profit. Death can bring money. Death is gold.

HLG: I'm a scholar of slavery, and one of the things I notice in my classes is that we've become inured to the suffering and pain of slavery, that we've distanced ourselves enough from it, that people can't experience the terror, the horrible pain, the anxiety, the stress, et cetera, that came with the slave experience. I thought that in Django you really began to reinsert contemporary viewers into that pain, particularly through the scene when the dogs tear Candie's slave D'Artagnan apart. And by the way, I don't know if you know, but that actually happened. The French used these dogs in the Haitian revolution ...



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QT: Oh, yeah. They get these vicious dogs when they're just little puppies. Have black slaves beat them and torture them and withhold food from them, so those dogs got to fixate on black skin as an enemy.

HLG: What will you say when people criticize you -- because it is unsettling to see a man torn apart by dogs? How did you decide what to represent of the suffering the slaves went through?

QT: I write film criticism and film literature. I haven't published any of it yet, but I just collect it. You know, it keeps me writing and keeps me thinking artistically and analytically, and even critically.

And , I was working on a piece on Sergio Corbucci -- a big, big piece. He's the guy who wrote and directed the original Django. And I was looking at all of his spaghetti Westerns, and I got really enamored with the West he created, because it seems to me that the really great Western directors had their own version of the West that they presented.

And the thing that really started jumping out from Corbucci's cinema was that there was no West that was as brutal as his -- as the characters, the bad villains who ruled the story. No archetype can perform their function, except in contrast to the villain or in relationship to the villain. And the villains had a sense of depravity about them that was off the scale, and the other characters had such a pitiless nature, and life was cheap as hell. Violence was surreal.

And it really did seem like in his cowboy pictures what he truly was dealing with was fascism -- which makes sense, as Italy was getting out from under Mussolini's boot heel not so long ago -- just gussied up with cowboy-Mexican iconography. Even when his outlaws would take over a town or something, it had the feeling of a Nazi occupation, and with Holocaust-like suffering to the victims.

So I'm writing all this, and part of the thing that's fun about subjective criticism is it doesn't really matter what the director was thinking. It's about you making your point. So at some point I was like, I don't really know what Sergio Corbucci was thinking at the time, but I know I'm thinking it now, and I can do it.

And with that in mind, this violent, pitiless Corbucci West: What would be the American equivalent of that -- that really would be real -- that would be an American story? It was being a slave in the antebellum South.

That could be a journey capable of the type of atrocity and that type of pain and that type of heroism, just like the fight against Hitler. So as opposed to trying to take you and put you in a Schindler's List kind of movie, which I really admire -- but the whole movie is now you're under the barbed wire of Auschwitz for the entire time, and this is what it's like, and all the TV movies go away as you see what that's like -- I wanted to have more of an entertainment value involved with my movie and have it be more of a thrilling adventure.



But there is this section . And the deeper you get in Mississippi, the more you get into it. And you have to really see the pain. And to me it was really illustrated by the Mandingo fight , and the dog scene, and I even had another scene in the script that kind of was my Schindler's List scene, where once they actually get to Candieland and the Mandingo fighters that they bought are lined up and Billy Crash kills a couple of them just to inspire the other ones.

And Candie even had a line. He goes, "You know, we only keep about three fighters of every five we buy, but those three fighters tend to be very lucky." That sequence in particular really played like a Holocaust movie. Ultimately I didn't need it ... The dog scene and the Mandingo fight scene did it.

HLG: And putting Broomhilda in the hotbox , which is a horrible scene.

QT: Especially because whenever you've seen her , you've only seen her in flashbacks or you've only seen her as a figment of Django's imagination. So the first time you meet her in the here and now, s--t's even worse than you thought. Her situation is even worse than you thought.

So what you're talking about, the way your class and people in general have so put slavery at an arm's distance that ... just the information is enough for them -- it's just intellectual. They just want to keep it intellectual. These are the facts, and that's it. And I don't even stare at the facts that much.

HLG: Why do you think we've had to distance ourselves from the pain as we have -- which makes your representation shocking?

QT: I don't know the answer to that question because I don't feel that way. I can't understand why anybody would feel that way. I think America is one of the only countries that has not been forced, sometimes by the rest of the world, to look their own past sins completely in the face. And it's only by looking them in the face that you can possibly work past them. And it's not a case where the Turks don't want to acknowledge the Armenian holocaust, but the Armenians do. Nobody wants to acknowledge it here.

HLG: Well, however you want to depict the horrors of slavery, slavery itself was 10,000 times worse.

QT: That almost became our slogan. It's like, look, the stuff that we show is really harsh, and it's supposed to be harsh, but it was a lot worse.

Previously: Tarantino 'Unchained,' Part 1: 'Django' Trilogy?

Coming up in part 3: Tarantino explains Django's character arc and why his film isn't your typical "white savior" story.

It be nice if his detractors actually read this man's point of view as opposed to just assuming he jerks off to the n-word, but we gotta keep this post popping and Troll on (c) Modest Mouse.

And of course, y'all find all of it entertaining


>It be nice if his detractors actually read this man's point
>of view as opposed to just assuming he jerks off to the
>n-word, but we gotta keep this post popping and Troll on (c)
>Modest Mouse.

___________________________________________________________________________
Bitch, don't kill my vibe.

SOOOOOOOOOOOOOO ANGRY GRRRRRRRRRRRRRRRRRRRRRR!

I'm doing about 44 things right now, can't comment in detail

I will say this:

a) Its not very good at all. Its not even as good as 'Posse' as far as funky
funnish historical western-style films. Made me wince at times, but mostly
utterly forgettable and yawn-worthy. Not worthy much of a review, because
honestly, the director didn't care very much about what was in this film.


b) Its not very good because its not very good, not because
QT doesn't understand race or is a closet racist or because
Foxx is an uncle Tom or because of bad Macguffins. Its
not good because its not very good. I don't even care to comment
on how QT's personality or views or politics made it bad. I honestly
don't. I just think it was a junky, janky, clanky story that no serious
professional with any sense of self-reflection can/should ever make.


c) The movie will get tons of awards and accolades because there are
too many risks to people not liking it-

- if black artists/hipsters don't like it, they'll never see that awesome
context (slavery revenge) in a high profile piece of art again. QT definitely did
us a huge favor by making this film. It just happens to be a trite, silly movie. That
it sucks doesn't change the fact that people who would love to write cool stories
about the black experience have a LOT to gain from this.

- if hipsters don't like it, it'll serve as a referendum against white
people's freedom to have fun with non-white stories; cosigning this
movie extends this license. This is VERY valuable to white people,
especially in the Obama-era where we'll see fewer black artists in
general (diversity programs and initiatives are in decline; people don't
feel the need to give black people a chance to make black art like
they did in the 1980s).

For these reasons, and many others, this film absolutely must do well
and must make money. And I honestly hope it does.

Thankfully, there are LOTS of ways to like this movie. Or rather, ways
to invent reasons to like this movie:

-for people who don't like the story (think people like Guinness and Zootown),
they'll say "it was entertaining and fun." Of course, so was 'Man with the Iron
Fist'. Difference is, nobody loses if MWTIF is panned by critics. Lots of people
lose (including people with great intentions) lose if DU is panned.

- for people who don't understand anything about movies (i.e. The Professional
cat in this post), they'll overanalyze the virulent macguffins. This is the easiest
group to please, because they decided the were going to like the virulent
macguffins before they saw it (that they neither understand what the word
"virulent" means nor what a macguffin is helps)

- For people who thought the story was silly, the storytelling was trite,
the humor fell flat, and that overall it was at best a good shitty movie
(i.e. most people who are honest with themselves), this film was "a
courageous effort.' "Courageous" almost always means that the movie was
bad but that we appreciate what the filmmaker was trying to do.

But yeah -- I'll comment in greater detail later...maybe.

MAYBE.

This movie is so yawn worthy and irrelevant that I barely give a shit, though.

Honestly, as shitty as Dark Knight Rises was, it definitely fired me up
enough to comment in detail. This movie doesn't even do that. I'm not
sure if that means its bettor or worse than TDKR...but that I'm so uninspired
is notable.


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

I can see most movies days in advance, actually

Connections


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

good for you little fella.

And you calling me out

Wonder why

Oh that's right, prolly cuz you mad


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

QT he hurt my feelings(sniffles). I know these sap suckas still crying and complaining gee. This is not directed at you bwood i am talking to the other posters. I just can't help but laugh. Most of these dudes are the same suckas that was praising that Lincoln movie. That romanticized piece of junk and they got the nerve to criticize QT. I just nod my head at the fact that they take him so seriously.

I am really gonna fuck they head up and make 'em mad with the real deal about all this shit.

THE SOUTH WON HA HA HA SEE I AM CRAZY BUT I KNOW THE TRUTH, I LIVE IN GEORFIA AND I AM TELLING YOU THEY WON.

The thirteenth amendment was a compromise and not only that slavery is not illegal. Bliss talking that crazy shit lol hear she go again. Well at least bliss can drop some real knowledge instead of crying over that n word,lol.

See i really know who and what governs America. If you don't like nigga you should also not like colored, negro, black or African Amercan. All these terrms denote someone else having the right to categorize you and exert their authority and jurisdiction over your black ass. nigga=black, nigga= colored, nigga=creole, nigga= african american. If you know the game you know it's all the same.

Personally i prefer none of these designations but i am unfortunately still in the matrix.

I am going to see Django and imma have a good time.
Bliss

Just saying.

The actual movie is not very good.

I hate QT too. where can i fit in with all of this?

Nobody wants to defend the movie, because everyone
pretty much agrees that its dogshit

We've moved onto the use of the N word


----------------------------

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O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Mo money to the white man!

This is the shit y'all wanted, right? YOU NOT ENTERTAINED BY THIS?!???

___________________________________________________________________________
Bitch, don't kill my vibe.

And do the opposite of what I used to do: I'm gonna buy
multiple tix to DU and see something else.

Why? This film absolutely must make money. Its important for
black film and filmmakers.

The film happens to be terrible, but that's neither here nor there

Its important that it make money.

Same with 'Red Tails'.

Btw, ALL 3 parts are pretty ripe w/ spoilers. But this has MAJOR SPOILERS and so I stopped reading

In the last of a Q&A series, the director rejects the idea that Django fits into that old Hollywood trope.

(The Root) -- Quentin Tarantino's Django Unchained is about a slave named Django (Jamie Foxx) who gains his freedom and becomes a bounty hunter with the help of Dr. King Schultz (Christoph Waltz). They travel (under a ruse developed by Schultz) to Mississippi to free Django's wife, Broomhilda (Kerry Washington), from evil plantation owner Calvin Candie (Leonardo DiCaprio).

Despite how that brief synopsis might make it seem, Django is absolutely not, Tarantino tells The Root Editor-in-Chief Henry Louis Gates Jr., a "white-savior tale." In the last of a three-part interview series, the writer and director explains in detail the real reason that Django and Schultz's relationship unfolds the way it does, and when and why the power shifts (possible spoilers).

Henry Louis Gates Jr.: The history of Hollywood is replete with black Christ figures, and we can just list them off the top of our heads. Why did you decide to make Dr. King Schultz the Christ figure?

Quentin Tarantino: Here's the thing. There was actually some talk when the script got out there. Some people were speculating, is Schultz the white-savior character? He whips a magic wand and Django is able to do this and he's able to do that and he's able to do the other thing, but all because Schultz allows him to do it.

And you know, I completely did not think that that was applicable to my story. But the thing is, it's actually kind of interesting at the same time. While I'm telling a black story, I'm also telling a Western. And I have Western conventions on my side to help tell my story.

HLG: In fact, I call it a postmodern, slave-narrative Western.

QT: I'll buy that. But you know, one of the tropes of Westerns and telling a story like this is you have an experienced gunfighter who meets the young cowpoke who has some mission that he has to accomplish, and it's the old, experienced gunfighter who teaches him the tricks of the trade: teaches him how to draw his gun, teaches him how to kill.

Whether it be Kirk Douglas teaching young William Campbell in Man Without a Star or Brian Keith teaching Steve McQueen in Nevada Smith, or actually most of Lee Van Cleef's spaghetti Westerns that aren't with Sergio Leone -- that's kind of Van Cleef's role. Now, you go to the kung fu films -- that's always the case. There's an older guy teaching the younger guy and sending him on a vengeance journey.

HLG: It's a fundamental trope of the genre.

QT: Absolutely. So I'm falling back on that. However, knowing you have the history of cinema where, OK, this is a movie about Stephen Biko, but we're telling it through Kevin Kline's eyes -- that kind of situation -- I actually was hoping to get a little bit of narrative anxiety going on about halfway through the movie: Wait, is this just going to be Schultz doing everything? What's going on here?

Hopefully, if you're unbiased, from where I'm coming from, it makes sense how the whole first part of the story's going. But when is Django going to be the hero? Because truthfully, in the first half of the story, he is Schultz's sidekick. But to me that's OK.

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HLG: But that's an apprentice period.

QT: Exactly. It's his origin issue of his comic book. And frankly, just to have one little digression -- it's a small little moment -- to me one of the most meaningful moments in the first half of the movie is when ride up in the snow to that sheriff's office to deliver those bodies, and the sheriff goes, "Hey, Django! Schultz! How ya doin'?"

HLG: I was taken by that because he accepts Django in his role as a bounty hunter.

QT: It's the only time in the movie a white man has addressed him, aside from Schultz, who has not even mentioned his color and treats him with respect. Not even just respect -- he treats him as a professional. It's obvious they have become a true team. They are both invited to come inside and partake of the man's birthday cake.

HLG: You did that, not to say something about the sheriff, but to say something about Django's maturity.

QT: Three months were wrapped into one exchange. And you see now that he's a professional. And he's invited inside. He doesn't wait outside with the horses. And that's one of those really important things.

Now, going into Mississippi, that's when the power starts shifting. But even then, not to completely jump to the end of the movie and give away all the narrative surprises, but suffice it to say they have a plan, and it being a good story, the plan doesn't exactly work. So they're forced to improvise and do other things.

Now, here's the thing, though. If Schultz's plan had worked and they were able to kind of con Broomhilda out of her owner Candie's clutches and get her bill of sale, then Django would have taken her to New York. She probably would have gone on the abolitionist cocktail party circuit, telling her tales of woe and everything, with Django because he's not an outlaw now.

He's still on the right side of the law at this point, if that were to happen that way. And everything would be great for Django, and everything would be great for Broomhilda, but he would not be the hero of the story.

HLG: No.

QT: Schultz would be the hero of the story. Things have to go awry, and Schultz has to be taken out of the picture for Django to truly emerge as the hero. He has to actually be caught. He can take down a lot of people, but he actually has to be caught.

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And like a character through Negro folklore, he has to get out of his predicament solely through cunning and guile. And then he has to make the choice to go back yet again. Anything else and he's not the hero of the story.

HLG: So that's why you sacrificed King Schultz.

QT: He had to pass on for Django to truly take the torch. And there's another narrative thing going on as well. Just the way Django probably feels about it, a little bit to some degree, the audience feels that I have shown two big sequences where Schultz has painted his way into a corner that there's no way he can get out of, and then he talks his way out. So we have two set pieces setting this up, and now we have a big third one. And by this time, the audience should actually feel that Schultz can handle anything.

HLG: But Schultz makes the decision to sacrifice himself. He's won . They've given $12,000 ransom money. He's going to shake hands -- I mean, being humiliated, but hell, he can get over that. But he decided, "F--k you, I'm going to blow you away."

QT: Right. Well, you know, there are a few different reasons, and I don't want to spill it all out because I'm hoping that the audience will come up with some of their own of why Schultz does what he does. I actually think one of the definite reasons, though, is he had to put on this facade in dealing with this inhuman depravity that he's witnessing. Now that he's on the other side of it, it's all raining down on him.

HLG: He's haunted by these memories.

QT: What he was working hard not to allow himself to feel is now permeating him. But something else is also permeating him. I think he's actually realizing inadvertently he caused D'Artagnan's death.

Where I'm coming from is, I don't think Candie would have actually killed D'Artagnan in that situation, just for running away at that moment -- not that he couldn't have done it another time with somebody else. But just where it was leading, where it was going, he would have punished him, but he wouldn't have sicced the dogs on him at that moment. That doesn't make him nice -- I'm just saying it wasn't his plan to just destroy him at that moment.

HLG: So why did he destroy him at that moment?

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QT: To test Django. Because when Schultz offered to buy him all of the sudden -- Whoa, what the hell? That was phony-baloney. He knew it wasn't right. This is weird. These guys are up to something. What's going on here? Why would he care? He's getting into Mandingo fighting; why should he care about this guy?

HLG: So Django had to sacrifice him in order to keep the ruse up.

QT: Schultz reveals himself. Django stops him and says no, we're not doing that. And Candie realizes this and decides to test Django's resolve.

HLG: A friend of mine said to me, "I really liked the film, but would he have had James Bond watch one of his fellow spies be torn apart by the dogs?" Why was it important for Jamie Foxx's character, for Django, to let this man be sacrificed?

QT: If I was writing the James Bond movie and the job was for him to go undercover, then yeah, he would, and James Bond would be good at that. He's a professional. He knows what's going on.

It has to cost Django something to go on this mission. He's not Spartacus. It's not about him liberating everyone in shack row and them storming Canada together. He's got one mission and one mission only: extract his wife from this hell. And nothing else means a damn compared to that.

HLG: And he has to get in character.

QT: He's got to be convincing. And he knows that more than Schultz does. To me, that's one of the interesting things.

You know Django goes on a tutelage in the first half of the movie, but then the teacher-student relationship shifts once they get into Mississippi. Because Django knows exactly this world and understands it. And Schultz is coming from almost a 21st-century perspective. He understands, intellectually, slavery, but he's never seen the everyday horrors and degradation of it.

HLG: Were there any scenes left on the cutting room floor that are just too graphic or depressing to include in the film? And if so, will we ever see them, and what were they?



QT: Nothing that was too graphic. But there were versions of the movie, getting to the version that we have now, where both the Mandingo fighting and the dog scene even worse ... even more violent. I can handle rougher stuff than most people. I can handle more viscera than most. So to me it was OK.

But you know, you make your movie and you get it to a certain point where we've seen it ourselves enough -- now we have to see it with an audience. And this movie has to work -- all my movies have to work this way -- but this one kind of even more so had to work on a bunch of different levels.

The comedy had to be able to work, the horrific serious scenes have to work, I have to be able to get you to laugh a sequence after that to bring you back from . We have to be at the right place in the story where the big suspense scene at the dinner table happens so that will pay off.

Now, I'll talk a little bit in code, but you'll know what I mean, and I don't think it will spoil anything. But by the way, I actually don't mind people knowing that Django triumphs at the end.

But there's that moment where Django turns to Broomhilda and has that kind of punky smile that he does. If I've done my job right, modulating this movie and doing it the right way, then the audience will burst into applause. They'll clap with Broomhilda. They'll laugh when Django and his horse do the little dance. That means I've done it the right way. The audience is responding exactly the way I want them to.

HLG: Well, the audience in Bethesda, Md., last Sunday at the screening I saw applauded at that moment.

QT: But you see, the thing about it is, when the Mandingo scene and the dog scene were rougher , I traumatized too much. They were too traumatized after that moment, and they resented me a little too much, because they actually had been enjoying the movie before then.

HLG: I understand that.

QT: I understood it, too. And the thing is, I actually got them back. It's not like there were that happened later where they didn't laugh. They were just traumatized. And the response at the end was a qualified response.

QT's decision to have django escape the big shootout and return makes more sense to me now. still think it was handled a bit clumsily. i'd rather have seen broomhilda take up a gun and help django blast his way out-- reflecting the reality that black women in those days rarely had the luxury of waiting for their men to save the day. she did try to escape on her own, which is what put her in the hot box, but it would have been interesting to see QT give her more responsibility for her own freedom.

Waltz killed it
Jamie was good
Leo was great as well

Sam did some of the best coonin in recent memory

will see again

Good to great performances, Waltz's being the best. Just about everything worked for me. Probably coulda shaved 10 to 15 minutes off of it, but that's a minor quibble. Will be seeing it again, probably later this week.

because tarantino was "allowed" to make the movie that
spike wishes that he could. his disdain seems purely
personal, and it's certainly understandable.


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"It is better to be silent and thought a fool than to open your mouth and remove all doubt"

antebellum south

but, he probably wishes that he could have back then.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"It is better to be silent and thought a fool than to open your mouth and remove all doubt"

a movie like this? A trivial, long, boring, unfunny, spaghetti western ripoff.

I Really enjoyed this movie. Quentin just earned a permanent hood pass. It was very entertaining, and Chris Waltz was magnificent. The crowd clapped when this movie ended. Kerry Washington was great and showed angst, fear, and pain very well. Jamie was likable, but there was no "Ray-like" performance, but he totally worked. There was action, intrigue, and comedy. It even works as a date movie, because there was an injection of romance. I totally recommend this movie, its worth the trip and the money. The movie defintely has a bias factor. If you are a racist white person, or an uncle tom black person, you will probably not like this movie. Any existing bias will probably manifest itself when you see this movie. Your existing point of view will have a say in how you feel about this movie. Nonetheless it was very entertaining, and not meant to be serious Edutainment. Quentin puts HIS style all on it. Props to Quentin for making this movie. It was long overdue. See.....there goes my bias. :-)

>I Really enjoyed this movie. Quentin just earned a permanent
>hood pass.

it's just a movie.

Fuck is this 1996?

*Innocently whistles*

lol

C'mon.

i'm out.
_____________________
"WHOLESALE REUSABLE GROCERY BAGS!!"
@etfp

He just didn't want Tarantino making it


Petty isn't it?
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

No one would *let* a black filmmaker do it, to be more precise.

A 70 million dollar budget for a film in which a black guy gets revenge by killing all the white people?

If Spike made that movie, he'd be even deader to the industry than he is now.

He threw a trash can through a window and folks thought he was being too incendiary. Imagine what he'd do if he made a "kill all the white people" movie, lol.

And I'm sure, regardless of whether Spike would want to or even can make a movie like Django, that fact absolutely pisses him off. Rightfully so.

like i said, any black filmmaker trying to make django would've been ushered out of the pitch room by security. spike would be right to be mad about that. but that's clearly not why he's mad. he got that QT hate fever.

even got to see the shit. makes me want to go get my Orville Reddenbacher on and i'm not even halfway through the post. lol

In theory: I don't have an issue with the premise of the movie on paper.

I didn't like this movie and felt uncomfortable watching it in the theater.

Not because the movie'a subject matter "challenged" me (or the audience)-- but because of the ways that the movie had an implicit way of banking on people's racial imaginings of the past and present.

I suppose I'd feel different about the movie if America was in a place that demonstrated that there was some kind of genuine understanding of slavery other than: "it's bad to have had slaves in the States; it's bad to treat people badly because of their skin color. It's just not right!"

Thanks but no thanks, Tarantino.

I couldn't help but think that Tarantino might be a man who imagines what Black people are like or what Black people feel like

EVEN though he's met Black folks.

Meh.

Great review:

http://www.bostonglobe.com/arts/movies/2012/12/25/tarantino-blows-spaghetti-western-django-unchained/hcwJVvWEtMNrlUlatAF1dK/story.html

"Tarantino’s increasingly sophisticated idea and filmmaking are also easily reduced by the minds of some moviegoers. I really like “Django Unchained,” but I didn’t like watching it amid the moronic laughter of some of his movie-geek fans. That’s the fascinating danger of Tarantino’s revisionism. There’s more than one way to love it.

...

Schultz tells Django, “I’ve never given anyone their freedom before and now that I have I feel responsible for you.” But Tarantino knows the history of race in the movies well enough to understand how nauseating a sentiment that is. Django takes care of himself."

ACTING:
Not a weak performance in the bunch. Standouts imho were Kerry Washington (who had the thankless job of making the romance of her and Django tangible to the audience with very little screentime/lines), Foxx who nailed the transformation from slave to hero while keeping his inner rage in check, and most importantly Sam Jackson. The technical acting chops he showed (the Parkinson's, the old man defeated walk to swagger) was a career showcase, he deserves an Academy nom. Waltz and DiCaprio swagged it out too, but they had easier roles* Also, Walton Goggins gotta stop picking those hick racist roles even though he's great at em, talk about typecasting, lol.

CINEMATOGRAPHY/ACTING:
Has QT ever slept in this category? Extremely pretty, and extremely bloody.

The N Word:
LOL. Overblown. During slavery white people were extremely shitty to black people, anybody offended by the usage must be in some kind of weird denial. The OTHER aspects (Mandingo fights, the Lechter masks the slaves had to wear) were much more disturbing and NEEDED to properly convey what was happening and not be Blazing Saddles 2.

PLOT:
I can't remember if Jackie Brown had a straight narrative, but this is the first time I remember seeing one in a Tarantino movie. It suits him well.

ISSUES
Here is the 'flaw' that O_E is going to run to the ground and whine 'SO THE MOVIE WAS SHITTY!!! ADMIT IT'. The misstep in this movie is the deux ex machine that comes in 2/3rd of the movie which seemed tonally off. Several times the characters paint themselves into corners where through guile and smarts they were able to talk their way out of it...except for one super convenient and illogical mistake by the baddies. It just seemed lazy and took me out of the movie...the subsequent appearance by Tarantino the actor because of the mistake didn't help it either.

Thankfully after this misstep, the vengeance continues in gloriously bloody fashion and leads to a crowd pleasing climax into one of QT's stronger endings (something which he's hit and miss with). I think this is key to the movie's success...while consistent filmgoers are used used to QT quirks just because of the motherfucker of a shadow Pulp Fiction left on cinema...the popcorn crowd really isn't used to long witty dialog with nothing at stake. This is his leanest movie; the conversations actually matter...be it comic relief, moving the plot along, or to ramp up the tension...and his most mature. If DeathProof was Tarantino-ism taken to the point where he totally lost his audience, Django is the closest he's come to meeting them all the way.

Overall, one of the best movies of the year, and in the better half of Tarantino's filmography (definitely better then Inglorious).


*Why hasn't Hollywood given Waltz a real bad ass role yet outside of Tarantino? What a waste. And you can tell DiCaprio had fun twirling that moustache and hamming it up fully evil.

>ACTING:
>Not a weak performance in the bunch. Standouts imho were
>Kerry Washington (who had the thankless job of making the
>romance of her and Django tangible to the audience with very
>little screentime/lines), Foxx who nailed the transformation
>from slave to hero while keeping his inner rage in check, and
>most importantly Sam Jackson. The technical acting chops he
>showed (the Parkinson's, the old man defeated walk to swagger)
>was a career showcase, he deserves an Academy nom. Waltz and
>DiCaprio swagged it out too, but they had easier roles* Also,
>Walton Goggins gotta stop picking those hick racist roles even
>though he's great at em, talk about typecasting, lol.
>

Wow..because apparently, Washington has a really damn good chance of slipping in as a "dark horse" for best supporting actress for her work as Broomhilda (mainly because "Hitchcock" is kinda not doing well, so potentially, ScarJo is possibly OUT as Vivian Leigh. So, Kerry could slip in...that's the buzz right now. I'd freak if she did, cause I luh huh)

>CINEMATOGRAPHY/ACTING:
>Has QT ever slept in this category? Extremely pretty, and
>extremely bloody.
>
>The N Word:
>LOL. Overblown. During slavery white people were extremely
>shitty to black people, anybody offended by the usage must be
>in some kind of weird denial. The OTHER aspects (Mandingo
>fights, the Lechter masks the slaves had to wear) were much
>more disturbing and NEEDED to properly convey what was
>happening and not be Blazing Saddles 2.
>
>PLOT:
>I can't remember if Jackie Brown had a straight narrative, but
>this is the first time I remember seeing one in a Tarantino
>movie. It suits him well.

Jackie Brown was relatively straightforward. It was an Elmore Leonard adaptation if I believe...

>
>ISSUES
>Here is the 'flaw' that O_E is going to run to the ground and
>whine 'SO THE MOVIE WAS SHITTY!!! ADMIT IT'. The misstep in
>this movie is the deux ex machine that comes in 2/3rd of the
>movie which seemed tonally off. Several times the characters
>paint themselves into corners where through guile and smarts
>they were able to talk their way out of it...except for one
>super convenient and illogical mistake by the baddies. It
>just seemed lazy and took me out of the movie...the subsequent
>appearance by Tarantino the actor because of the mistake
>didn't help it either.
>
>Thankfully after this misstep, the vengeance continues in
>gloriously bloody fashion and leads to a crowd pleasing climax
>into one of QT's stronger endings (something which he's hit
>and miss with). I think this is key to the movie's
>success...while consistent filmgoers are used used to QT
>quirks just because of the motherfucker of a shadow Pulp
>Fiction left on cinema...the popcorn crowd really isn't used
>to long witty dialog with nothing at stake. This is his
>leanest movie; the conversations actually matter...be it comic
>relief, moving the plot along, or to ramp up the tension...and
>his most mature. If DeathProof was Tarantino-ism taken to the
>point where he totally lost his audience, Django is the
>closest he's come to meeting them all the way.
>
>Overall, one of the best movies of the year, and in the better
>half of Tarantino's filmography (definitely better then
>Inglorious).
>
>
>*Why hasn't Hollywood given Waltz a real bad ass role yet
>outside of Tarantino? What a waste. And you can tell
>DiCaprio had fun twirling that moustache and hamming it up
>fully evil.


Wow I can't wait to see this. And, I'm actually going to *PAY* for it and not view the screener a friend sent me over the holidays either.

Even if I was told on FB that I'm not Black if I go and support this, I guess I'm handing in my Black card....

I LOL'd at this understatement of the year which actually had to be said in context of this discussion.


**********
"naive as the dry leaves on the ground looking past the trees to the blue sky asking 'why me?'" -Blu

Why I still fuzz with the Lesson
http://open.spotify.com/user/brothersport86/playlist/3DhEhilho77Z0UCPbJlEJf

But, you know, niggas.

And "just ignore it" doesn't help.

___________________________________________________________________________
Bitch, don't kill my vibe.

on Christmas.

Ol' Man Harv smiling.

I'ma need a hammer, some nails, a shovel, and a coffin, because it appears that an agenda's about to die a long-overdue death.

___________________________________________________________________________
Bitch, don't kill my vibe.

I LOVE IT. Thank you Q-Dawg for providing such a great XMAS treat.

Let's start with the good:

- it's Tarantino's most straightforward comedy to date. There's not much moral complexity here, just a lot of bumbling hick-ass white folks getting killed while one-liners are spouted. Now, some people will absolutely view this as a hardcore negative, as is their right. However...

- the comedic tone for the most part kept the pace quicker than most QT films, with the exception of Candie Land sequence (more below). The pre-Candie Land bit plays like Leone doing Blazing Saddles. Again, some people will definitely take the lighter tone as a bad thing, but the pace was quick and the storytelling unusually economic for QT. The finale is also funny, fast, and satisfying. Really, if you take out the Candie Land segment, a lot of it is among my favorite QT work to date.

- Cinematography and music are great, and while I normally just accept that as a given in a Tarantino film, it's worth noting after the ungreat cinematography and music of Les Mis last night.

- Jamie Foxx gives his best performance to date. I'm not a big fan of Foxx, and I recoiled when I saw he'd been cast as the cowboy lead. But he nails it. Probably gives the best performance in the film in my opinion.

- THIS IS THE LEAST IRONIC A TARANTINO FILM HAS MAYBE EVER FELT. At least going back to Jackie Brown. I didn't feel winking at the camera the way I felt during Inglourious Basterds, Kill Bill, etc. It's simply straight forward and earnest. There's even an emotional undercurrent, which I loved, as I've felt in the past few QT outings that the attempts at emotion were merely perfunctory.

- Samuel L. Jackson: best use of his natural menace in a long time.

The bad:

- the whole Candie Land segment dragged for me. This is where the Tarantino that makes me roll my eyes came into action, the one who's a little too pleased with his speechifying and a little too eager to extend a scene's dialogue. Although I won't blame QT's script entirely...

-... as I didn't really buy DiCaprio. I'm glad he was having fun being hammy again after a number of serious melancholy roles in a row, but I needed somebody with less boyish eyes. I see *why* they cast him, aside from the obvious marketplace value-- he is, after all, a petulant child, and his performance is never better than when he has the conversation with Samuel Jackson in the library. We see the fear, the anger boil up. Most of the rest of the time, I wanted an actor more inherently scary, who felt less like he was having a good time and more like he was a child teetering on insanity.

You know who I really wanted for Candie? The kid who plays Joffrey on Game of Thrones.

- although there's not much opportunity for Kerry Washington to do anything other than scream and writhe, I would've liked her character more developed. QT's normally good at that, so this isn't a Mamet thing, but it would've added to the film.

- by favoring the comedy, he does undercut some of the emotional content, and certainly the uglier slavery stuff in Candie Land feels odd next to jokes. Example: the reunion of Hildy and Django swells for a moment, and then...gag. Womp womp. One wonders what he could have done if he played the film straighter (though that may have resulted in a slower pace, so it's a give and take).

- Jonah Hill didn't need to be in that scene, lol. It was the funniest scene in the film, maybe QT's funniest scene since Pulp Fiction, but Jonah Hill being there was distracting. I kept waiting for him to come back.

- speaking of not needing to be there, can we keep Tarantino out of his own movies forever? Holy fuck, what a distracting and awfully performed cameo.

- as people have noted above, some "convenient" storytelling moments. The obvious deus ex machina before the finale in particular. However, I thought Jackson killed that speech and it set the finale in motion, so I was happy it came about.

Not sure what I felt overall. It ended on a high note, so that's a very good thing. A healthy hour of it dragged for me, but the rest of it was strong, funny, well-acted, and generally among QT's best work. I was not bothered nearly as much by the N-word usage as I was expecting to, except when it was being used as an obvious source of Tarantino humor (Don Johnson early on, and some of the stuff at Candie's dinner table).

It was definitely better than Les Mis by a good amount. So I'll leave it at that.

But well-stated. Especially the humor. I couldn't laugh at any of it UNTIL Samuel Jackson at the end.

i think the "boyish eyes" thing that often doesn't work for him in heavier roles works incredibly well here as the boy king of candyland. i also think he's exactly the sort of actor-- dashing A-list star-- that would be cast as the southern gentleman/plantation owner in the typical "gone with the wind" type antebellum south glorifying film (thought don johnson also fit this mold really well). casting leo in the same role in django is kind of a nod to those films, while playing with our historical expectations of the role (oh, these guys were actually villains?). if you put a twitching, borderline-insane type in that role, it makes it seem like the issue here is this one sick, psychopathic slave owner who is so much unlike any other we've ever seen, and not slavery as an institution, not the antebellum south as we've always celebrated it.

as for the performance itself, i again ask the court to consider the scene where leo, with all the southern charm in the world, takes a saw to the skull of his father's most loyal slave. i thought that was one of the most remarkably well written and acted scenes of any this year.

I didn't feel the movie long at all

I agreed with almost everything Zootown said.

Yes my gripe with the movie was that there were indeed--especially in the first forty minutes or so--moments that polarized the audience, in the sense that many people were laughing while other people] were really quiet. It was unsettling, but oh well.

I disagree with Longo--I think this is BY FAR the finest performance I've seen from DiCaprio. I would say he is almost a shoe-in for a best supporting actor nomination. He put his all into that role. Unlike every other role I've seen him in--except MAYBE What's Eating Gilbert Grape--he disappeared in the role. I wasn't particularly impressed with his performance in The Aviator or The Departed, but he shined in this one.

I think Christoph Waltz and Samuel L. Jackson were terrific too. I would say both--especially Jackson--would be up for nominations, but I could imagine them getting snubbed. Leo getting snubbed for this would be criminal.

I think Jamie Fox was great in the role, and I'm glad he got it over Will Smith. I'm not even a Jamie Fox fan. I was wondering who I'd rather see in the role...if I had my say, I'd put Michael K. Williams in it (and I wonder what part Tarantino had for him), but really Fox did a good job.

I do agree with Longo that Tarantino should never act in any movie ever again. Not his own and not anyone else's. He might actually be the worst actor in Hollywood. Like, his one scene was embarrassingly bad.

Okay, the one other set back was the music. Some of the hip-hop was jarring, and took me out of the western vibe.

Overall, I think this was a good flick. I might even put it above Inglorious Basterds. It was definitely more satisfying.

in no way is this joint the best (or worst) anything this year. It was a solid "meh".

Like Longo said, it was not as corny/smarmy/ironic as a lot of QT's other films...(until the stupid-ass ending, but more on that later), but I wouldn't quite call it earnest, either. There's a little too much self-aware quick zooming and 70's film techniques on hand to keep the film honest. Also, the music works against the mood of the film more often than not.

The first 45 minutes was the best part of the movie. Walz is the only actor that can make Tarantino's yaking-ass characters bearable, and he was great in this. But everybody else? Just kinda there. DiCaprio was cool, Foxx was str8, Sam Jax owes a check to Aaron MacGruder (hell, so does this entire film, really) and Kerry Washington's quivery-ass top lip stays busy as hell in this movie. The rest of her don't really do shit tho.

It's not as scatter-brained as most other Tarantino films (which is my biggest gripe with buddy's shit), but it still drifts into pointlessness sometimes.

About the slavery images, it was interesting to see the coffles and headpieces and other facts about slavery that normally ain't shown in film on screen. But honestly, it was really all just kinda...there.

About the ending - okay, if there was any emotional weight built up in Django and his wife as characters, it was pretty much pissed away in the last couple of minutes of the movie. I ain't spoiling shit, but if you've seen it, you know what I'm talking about.

All in all, it's really a kind of bland movie, that has interesting moments, but nothing really great, or good even. It's gonna make a shit ton of money though becuz of 2 things, really:

1)Tarantinoia (yes, I made that up) will make everybody who don't see it feel unhip

and

2) A lot of black folks want to see plantation-era white people get shot the fuck up by an angry black dude onscreen.

Hopefully, this film will open the doors to better movies set in that era.

Oh yeah, there is literally nothing - *NOTHING* - thought provoking to anybody over the age of 18 in this movie. It's not deep, there's no symbolism, there's no virulent anything...it just kinda is.

>Oh yeah, there is literally nothing - *NOTHING* - thought
>provoking to anybody over the age of 18 in this movie. It's
>not deep, there's no symbolism, there's no virulent
>anything...it just kinda is.

i mean, i (and most ppl i) know went into the movie bc of this.

>2) A lot of black folks want to see plantation-era white
>people get shot the fuck up by an angry black dude onscreen.

i wasn't going into it for thought provoking and discussion. this wasnt nat turners rebellion story. it was a spin on the dave chappelle haters in time skit, extended with a "love story".

>About the ending - okay, if there was any emotional weight
>built up in Django and his wife as characters, it was pretty
>much pissed away in the last couple of minutes of the movie. I
>ain't spoiling shit, but if you've seen it, you know what I'm
>talking about.

if youre talking about the part right before the credits? then yeah that sucked.

*YOU* know ain't shit deep in them....but read some of this post and the reviews of this joint.

People reaching like Dhalism to make this shit something more than the extended goof that it is.


SPOILERS, but fuck it you gonna see the movie eventually:

The shit with the horse doing doughnuts in the Plantation parking lot? Kerry Washington puttin her fingers in her ears and grinning? Django's pimp strut? MAN. Hell, even the shit in the big house after the funeral was goofy as shit.

i thought the post funeral scene was ok, but that shit? yeah, that was about as needed as that one artist\song in the middle of the film that came out of no where.
i hated it.
i know he was going for the happy end, but if came of as way out of character and stereotypical.
the majority of the theater i was in ate that shit up though, so what the hell do i know?

Have you given any thought to the theatre massacre scene in Inglorious Basterds?

The audience enjoys watching a violent death for Nazi's who are themselves enjoying watching a violent movie before they die. And this leads to no interesting intellectual analysis (deepness) for you?

other movies that used the same idea, but consistently and in a better context?

Seriously, what's the thoughtful idea in that scene? Especially as it relates to the rest of that film?

But he is obviously comparing the audience (us) to the nazi audience. It would seem to suggest that we ALL enjoy violence as long as it's being inflicted upon the 'right' people. And we are all horrified when the violence is being inflicted upon the 'wrong' people. And this is a theme throughout the whole movie....amongst others.

As I mentioned previously, QT has a sincerity problem. He simply cannot make a real story about real people and real circumstances and real consequence. The closest he ever came was Jackie Brown and it disappointed at every level and he simply stopped trying. He took his ball and went home. He hides behind surrealist violence and cool dialogue. I’d have no problem with any of this if it wasn’t EVERY MOVIE HE MAKES. Ridiculous hitmen, blond ninjas, wacky-font-lazy, plot-advancing-text, etc. It's in ALL his films. Anything that let's us know that this isn't REAL.

For all of you dude’s cheers and cysages about virulent F-U’s to The South, this movie was winking at us the entire time. So, like its Git-Dem-Nazis predecessor, it’s a CARTOON. You cysed off a cartoon, dogg. You felt some twinge of racial pride watchin Da Jango git-dem-slavers? Um, why? It’s just Jaime Foxx.

I’m actually stunned that Kerry Washington’s performance isn’t being called what it really is: Completely and utterly out of place, wasted and better-suited for a better movie. She let herself get whipped? For this? Aight then. She played it straight, like she was in a big screen adaptation of The Known World. I felt sorry for her. She did ALL THAT…for a Cartoon. You don’t turn in THAT performance for THIS, with its 16oz squibs and villain-face quick-zooms. But, Kerry's a pretty black girl...she don't really have a sense of humor. Because if she did have a sense of it, she'd have saved all that. Oh, I know, I know, she had to bring it to make us care about the story...she was the emotional center of the film. Riiiiiight...like Olive Oyl? Uh huh.

When are black folks gonna stop falling for the white politician who kisses the black baby? Bammas was in there yelling at the screen, chests heaving wit dat pride. FOR WHAT?!?!? QT did you a FAVOR? Some of OUR *real* story been told? That's hankyhead okey doke thinking. I'm a 'cism sophisticate. Ain't got time for it.

Lastly, a word about Night Dogg. You know why he fails miserably sometimes? Because he’s earnest. Every. Single. Time. Sincerity can easily be ridiculed. Should he have made a REAL attempt to tell the story of killer-trees? Eh, prolly not. But, He TRIED.

You cannot say the same for QT. But, that’s what “cool” is. It's a 24/7 commitment to dictating how you will be judged. And somehow QT has convinced the masses that if you don't get HIM, you are not cool. If you rip his films, people will look at you like you're crazy and say something like "But, if wasn't SUPPOSED to be THAT. It was supposed to be entertaining. Were you entertained?"

I'm entertained by Weird Al, Larry The Cable Guy, Sinbad, 90s R&B, Patti Labelle's cooking show with that theme song that just went "PATTI LABELLE! PATTI LABELLE! PATTI LABELLE!", any karate movie from a corner store in Chinatown, watching kids fall...just a LOT of stuff. Do I judge those things based on artistic merit? nope.

Anyway...it was entertaining. Everything about a QT film, especially the debates, is entertaining.

ride that agenda all the way to the bottom of the MAD ocean.

>

Tarantino has no excuse. this is going on 20 years of this...20. it's tired.

>Tarantino has no excuse. this is going on 20 years of
>this...20. it's tired.

Why should anyone change their style etc?

I mean there's nothing wrong if they do. Sometimes its successful and sometimes its a disaster. But do you want M Bay to do drama? You want Woody to do the next Avengers?

Besides, the moment QT did attempt something different, yall would deride it regardless.

OE and you would be on some "lookit this cracka attempting to get deep...after years of the n-worditus... FAKE!"

The worlds they inhabit may be a bit off, and there's a deep...sigh...hipster quality running through it all. But they are all heartbreakingly sincere from Rushmore on...

Max and Herman surrogate father/son relationship.
As quirky as the Tannenbaums were, the regressed childhoods of all the characters were pretty dark up until it climaxed with the attempted suicide.
Life Aquatic was him at his most cartoon, and he balanced that out with fucking Darjeeling Unlimited which was probably TOO sincere, lol.

There was nothing at stake there....Bottle Rocket was worse. And then it got worse. And worse.

MK was him taking some risks and believing in his audience.

>
>MK was him taking some risks and believing in his audience.
>
>

...um no
You really are mad
Horrid comparison
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

No message

I can understand trolling to keep on riding QT; even me calling it trolling is more of a joke because I agree with you calling the characters insincere in Django. But Wes Anderson? Horrible example. Just because a movie's setting is 'whimsical surrealism' doesn't mean the characters can't be sincere...if that's the case genre cinema itself is insincere.

>There was nothing at stake there....Bottle Rocket was worse.
>And then it got worse. And worse.

His whole lane is quirky upper middle class folks dealing with mid life crises..in fact the sincerity is how he grounds them/makes em relatable to the audiences as opposed to us immediately getting turned off to what bratty pricks they actually are...mortality, failing at your life goals, etc...all high stakes important, relatable and SINCERE things to an audience. Not all his movies achieve this (Bottle Rocket), and some try to convey it and fail (Darjeeling), but that's his lane to a tee. You may feel he fails (and I can understand why, look at the prick comment above)...but that's the number one thing he's trying to sell, lol.

http://en.wikipedia.org/wiki/New_Sincerity

"Other critics have suggested "new sincerity" as a descriptive term for work by American filmmakers such as Wes Anderson, P. T. Anderson, Todd Louiso, Sofia Coppola, and Charlie Kaufman, Zach Braff, and Jared Hess, and filmmakers from other countries such as Michel Gondry, Lars von Trier, the Dogme 95 movement, Aki Kaurismäki, and Pedro Almodóvar."

What's your definition of sincerity where M.Night passes the sniff test but Wes Anderson fails miserably? Extremely somber characters moping around?

>I can understand trolling to keep on riding QT;I actually
>agree with you calling the characters insincere in Django.
>But Wes Anderson? Horrible example. Just because a movie's
>setting is 'whimsical surrealism' doesn't mean the characters
>can't be sincere...if that's the case genre cinema itself is
>insincere.

you first mistake is concluding that i'm only talking about the characters. the overall tone of a tarantino film (and early wes anderson to a much lesser degree) is insincerity. there is no effort made to create a world where the audience ever loses sight of the fact that this is tarantino being "cool"...from the soundtracks to the larger-than-life intros of the primary chracters..it's ALL a big ass in-crowd theater "experience"...and if you choose not to judge his films that way, then you "don't get it." nah, i get it, but i'm tired of it. make a real damn movie about something real. and i'm saying wes anderson has moved beyond the "in-crowd" thing and he's putting some faith in his audience to care and tone down the "style."

>>There was nothing at stake there....Bottle Rocket was worse.
>>And then it got worse. And worse.
>
>His whole lane is quirky upper middle class folks dealing with
>mid life crises..in fact the sincerity is how he grounds
>them/makes em relatable to the audiences as opposed to us
>immediately getting turned off to what bratty pricks they
>actually are...mortality, failing at your life goals,
>etc...all high stakes important, relatable and SINCERE things
>to an audience. Not all his movies achieve this (Bottle
>Rocket), and some try to convey it and fail (Darjeeling), but
>that's his lane to a tee. You may feel he fails (and I can
>understand why, look at the prick comment above)...but that's
>the number one thing he's trying to sell, lol.
>
>http://en.wikipedia.org/wiki/New_Sincerity
>
>"Other critics have suggested "new sincerity" as a descriptive
>term for work by American filmmakers such as Wes Anderson, P.
>T. Anderson, Todd Louiso, Sofia Coppola, and Charlie Kaufman,
>Zach Braff, and Jared Hess, and filmmakers from other
>countries such as Michel Gondry, Lars von Trier, the Dogme 95
>movement, Aki Kaurismäki, and Pedro Almodóvar."
>
>What's your definition of sincerity where M.Night passes the
>sniff test but Wes Anderson fails miserably? Extremely somber
>characters moping around?

Does anything Night Dogg has ever put on screen come across as gag to you? Do ridiculous wardrobe choices and crazy focal lengths and wacky framing and lazy text crawls EVER show up in his films, winking at us, letting us know that the film is a living, breathing exercise in self-awareness?

no, Night Dogg don't do that. If he fails, it's because he's not afraid to. Like I said, no one tries to dead ass pull of a minimalist, hyper-realistic suspense-horror about killer trees and not at least HINT to the audience that they know it's STUPID...except Night Dogg. Because he thought he could pull it off and he had faith in the audience to absorb it. He was hideously mistaken. But I will always admire the attempt.

The only unanimous L QT took was Death Proof and you STILL had people swearing it was jerk-off session and it wasn't SUPPOSED to be taken seriously. And I don't see the difference between Death Proof and anything else he's done, save Jackie Brown, when it comes to jerking-off in the audience's face. But that's just me.

And that Wiki entry is ridiculous. Those filmmakers are wildy divergent. Pedro and Lars and P.T. ...AND Wes Anderson. Hell, Zach Braff belongs on that list more than Wes. Garden State was a straight up film, with directly stated intentions and honest execution.

>, but i'm tired of
>it. make a real damn movie about something real. and i'm
>saying wes anderson has moved beyond the "in-crowd" thing and
>he's putting some faith in his audience to care and tone down
>the "style."
>

Because all genre movies are extremely concerned about 'style' (or genre) then a non-genre flick. OG Alien, as hyperrealistic hard-sci fi as it was, was as concerned with style as much as QT. Cameron may not have been winking at the screen on some 'Hey, look at these jokey characters having witty banter'...but you had those same cheesy horror cut quick edits, etc...that was already a staple of 70's horror flicks.

Imho to keep it sincere the way you're putting it in am movie(or pretty much any storytelling no matter what the medium).

1)You gotta build the world
2)You gotta build the characters
3)They gotta stay 'real' towards each other, meaning not break each others rules
4)The audience has to keep up the suspension of belief and buy into that world...ie no third wall breaking, no cool scenes for the sake of cool scenes, etc. QT's biggest flaw (or strength depending if you like it)

I don't see how M.Night has this, but Wes Anderson doesn't when the only difference is one keeps it relentlessly bleak and the other keeps it fanciful. (Hell, the more I type this out, the more I think that outside of tone they are pretty similar filmmakers as far as idiosyncracies are concerned...In a min of watching a scene I can know im watching an M.Night movie as easily as an Anderson one).

>In a min of watching a scene I can know im watching an M.Night
>movie as easily as an Anderson one).

i don't agree. you can spot a wes anderson film still-by-still, solely based on wardrobe.

http://www.fact.co.uk/media/1873637/The%20Royal%20Tenenbaums%202.jpg

can't say the same about m. knight.

I just think it has layers even with the cartoon shit
Once he decided the spaghetti western route
I knew it would be slightly cartoony
Plus it's QT like u said
U either a fan or you not

I received it like a really good big budget blaxploitation joint *shruggs*
And I had no problem with that

It's kinda like sweetback badass song meets the soul of nigger charlie
With a big budget


its not perfect by any means but I thought it was dope
And I thought the performances were good enough to
Be considered for Oscar nods

Far as real people it IS something he struggles with
But I actually thought in this one he was finally able to pull it off somewha...

Waitaminute ..now that u mentioned it I don't think know ANYTHING about him
Only that he was a slave and he wanted to rescue his wife

I did feel like Kerry was kind of wasted
Kinda like when 50 lost all that weight for a straight to DVD turd

i have enjoyed every qt movie i've seen including this one, but he simply won't (or maybe can't) make something real. everything just oozes with "style" in an attempt to cover up the flaws

There was a sincerity regarding the relationship of Django and Schultz that QT has never achieved in film before. *SPOILERS* Though logically it made no sense, you know exactly why Schultz decided to kill Leo even though it probably meant his own death. It was a small sacrifice in the face of all the horrors that he witnessed during his brief tour of slavery.



**********
"naive as the dry leaves on the ground looking past the trees to the blue sky asking 'why me?'" -Blu

Why I still fuzz with the Lesson
http://open.spotify.com/user/brothersport86/playlist/3DhEhilho77Z0UCPbJlEJf

>There was a sincerity regarding the relationship of Django
>and Schultz that QT has never achieved in film before.
>*SPOILERS* Though logically it made no sense, you know
>exactly why Schultz decided to kill Leo even though it
>probably meant his own death. It was a small sacrifice in the
>face of all the horrors that he witnessed during his brief
>tour of slavery.

and it coulda been ALL THAT in a more serious movie.

and in this case, not being real is a travesty. what "fun" is there in a fictional slavery get-back when today, the vestiges of REAL slavery still remain and are fucking people up? it's the wrong type of fantasy to tie to reality, cause this reality is one of the main themes of this entire country's existence.

i'm not going in hard on the film, i said i wouldn't spend money to see it and i won't, but i'll prolly have a "minorities attack" weekend and get inglorious and django together. you just touched on some general problems with something like this and how it stands next to reality.


i'd also add his fetishization of "others" as something i've always side-eyed him for, but you summed it up nicely.




>As I mentioned previously, QT has a sincerity problem. He
>simply cannot make a real story about real people and real
>circumstances and real consequence. The closest he ever came
>was Jackie Brown and it disappointed at every level and he
>simply stopped trying. He took his ball and went home. He
>hides behind surrealist violence and cool dialogue. I’d have
>no problem with any of this if it wasn’t EVERY MOVIE HE MAKES.
>Ridiculous hitmen, blond ninjas, wacky-font-lazy,
>plot-advancing-text, etc. It's in ALL his films. Anything that
>let's us know that this isn't REAL.
>
>For all of you dude’s cheers and cysages about virulent F-U’s
>to The South, this movie was winking at us the entire time.
>So, like its Git-Dem-Nazis predecessor, it’s a CARTOON. You
>cysed off a cartoon, dogg. You felt some twinge of racial
>pride watchin Da Jango git-dem-slavers? Um, why? It’s just
>Jaime Foxx.
>
>I’m actually stunned that Kerry Washington’s performance isn’t
>being called what it really is: Completely and utterly out of
>place, wasted and better-suited for a better movie. She let
>herself get whipped? For this? Aight then. She played it
>straight, like she was in a big screen adaptation of The Known
>World. I felt sorry for her. She did ALL THAT…for a Cartoon.
>You don’t turn in THAT performance for THIS, with its 16oz
>squibs and villain-face quick-zooms. But, Kerry's a pretty
>black girl...she don't really have a sense of humor. Because
>if she did have a sense of it, she'd have saved all that. Oh,
>I know, I know, she had to bring it to make us care about the
>story...she was the emotional center of the film.
>Riiiiiight...like Olive Oyl? Uh huh.
>
>When are black folks gonna stop falling for the white
>politician who kisses the black baby? Bammas was in there
>yelling at the screen, chests heaving wit dat pride. FOR
>WHAT?!?!? QT did you a FAVOR? Some of OUR *real* story been
>told? That's hankyhead okey doke thinking. I'm a 'cism
>sophisticate. Ain't got time for it.
>
>Lastly, a word about Night Dogg. You know why he fails
>miserably sometimes? Because he’s earnest. Every. Single.
>Time. Sincerity can easily be ridiculed. Should he have made a
>REAL attempt to tell the story of killer-trees? Eh, prolly
>not. But, He TRIED.
>
>You cannot say the same for QT. But, that’s what “cool” is.
>It's a 24/7 commitment to dictating how you will be judged.
>And somehow QT has convinced the masses that if you don't get
>HIM, you are not cool. If you rip his films, people will look
>at you like you're crazy and say something like "But, if
>wasn't SUPPOSED to be THAT. It was supposed to be
>entertaining. Were you entertained?"
>

and the greatest truths ever written or filmed told in fables, parables, and allegories. the bible also "hides behind surrealist violence and cool dialogue." you should make a poorly-thought-out post about that. obviously not putting QT on that level, just pointing out that this line of argument is almost too dumb for words.

http://www.unchainedsoundtrack.com/

Basically he introduces each of the songs and provides a little info/context about each song.

Available until Jan 2nd

all black audience. I couldn't believe most of those folks would have been at any other QT Film.

There might have been some white folks there at the start of them film, but I think they may have snuck out before the lights went up because folks were getting AMPED. It was a fantasy enjoyed by all.

The film was enjoyed. *SPOILER* Surprisingly, the moment that got the biggest cheer was when the white woman was killed. I am glad to see that the audience was aware all were complicit.

There were a lot of uncomfortable moments and rightfully so. I think my own viewing experience would have been a lot more uncomfortable to see with a mostly white audience.


**********
"naive as the dry leaves on the ground looking past the trees to the blue sky asking 'why me?'" -Blu

Why I still fuzz with the Lesson
http://open.spotify.com/user/brothersport86/playlist/3DhEhilho77Z0UCPbJlEJf

Read about a third of the way down this page and I'm sort of stunned at how many of you are experiencing all these 100% definitive "white people laugh like this, black people laugh like this" moments. The South Park example was the real stunner. That entire movie is balls out hilarious, including the "faggot" line. Not much more to say on that other than when I was in the theater for this movie it was a 50/50 audience. One black couple walked out after Django blew QT up with the dynamite, everyone else stayed. Laughter came from all the same parts, other than one scene:


When Foxx is hanging upside down and you get that opening shot from above with his balls all bulging, a black woman in the front row said very audibly "oh Lord..." and about half the audience busted out laughing including the group she was with.


I don't really recall the specific laughs in this movie, other than when white sister lady got said goodbye to and then was yanked into the other room. Dude lying on the floor getting shot over and over had the crowd rolling too. A lot of the laughs from the trailer, ie. "I like the way you die" and "now you have my attention" got ZERO laughs in the theater. Jaime's blue suit got big laughs.


OH WAIT. One post down, I should've known...professional reminded me, that KKK scene with Jonah Hill and Don Johnson got laugh after laugh after laugh. Whole theater was ROLLING at all of that shit.


My biggest gripe with the movie and the first thing I started saying to my sister when we walked out was that the soundtrack was used really poorly. The edits were abrupt and awful, some of the songs really pulled me out of the experience (Rick Ross and Tupac particularly) and overall just didn't feel like they fit. In fact the editing in general felt REAL sloppy for a Tarantino movie, I got jarred more than few times (that setting the table scene came at me out of nowhere especially).


That said, I had a really good time, and at times a really awful one (in the right ways). The Mandingo fight killed me, as did the flashback scenes of Django and Hildy together with Django fighting for the beauty of her back. The hotbox scene just made me feel scummy. But I smiled like shit when they were talking in German and then Django finally reveals himself (though Kerry's fainting was a lil' weak). Leo was a real charming slave trader, the way he fucked with the third muskateer was just...ugh. The only time he faultered for me was when he blew up on them two after learning what they were really after. The amount of rage he had seemed a little insane for me.


I really liked the movie, but I dig Tarantino's style. With the length, random complaints in just about every scene and so on, I can't say it's better than his worst film at best. And I'm bummed about that because I really wanted to love it. But I walked away from the theater thinking it's a movie that seems better suited for home viewing. I'd really like to see it again, but I don't go to theaters much anyways so it certainly won't be there. I'd recommend anyone I know to see this thing but it wasn't the epic I expected. All the acting was superb, I thought the script was great...Tarantino got in his own way on this one. But there's a pretty fun, sometimes horrifying movie in there, and I'm glad it exists.


~~~~~~~~~
"This is the streets, and I am the trap." © Jay Bilas
"I don't read pages of rap lyrics, I listen to rap music." © Bombastic
http://www.popmatters.com/pm/archive/contributor/517
Hip Hop Handbook: http://tinyurl.com/ll4kzz

and as usual with QT films I question should I have been?


Like art if more questions and attention as opposed to none is QTs goal
He's succeeded again


I might need a definitive as complete as possible ( these things like anything change with the times) list of the moral and philosophical issues with ths film.


Meanwhile I'd like to see it again
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

When Christoph Waltz and Leo went down in rapid succession, the movie went down with it. Should've had a quick denouement right there. All momentum was lost after that, and Django just wasn't a personable enough character to keep my attention without his partner or his foil. So from the hanging-upside-down scene on, everything felt tacked-on and forced. I get that there needs to be a final climatic shootout, but I don't quite get why Jamie had to leave, get dynamite and then come back for it. From Leo's skull speech to his demise are a satisfying end to the film. But QT couldn't leave well enough alone!

I can see why Tarantino did it that way. It seems like in a lot of the spaghetti westerns that this movie seemed to draw from, the protagonist has to get captured and catch an ass whooping at some point, just to show the ultimate price of the revenge/victor/whatever.

But yeah, I would have been more satisfied if they just kept the big shootout going and ended the movie with that.

~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

caught Nero but not her


nevermind found it (spoiler?)


http://www.vulture.com/2012/12/a-guide-to-all-the-movie-and-tv-references-in-django-unchained.html















"Bell, Zoe: One of the trackers is played by Bell, the stuntwoman who had a lead role in Tarantino’s Death Proof. She’s not exactly recognizable, as her face is covered by a red mask. She also doesn’t do much in the film, besides look through a stereopticon and wield an axe, which may or may not be the result of some late cuts to the film."
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

i'm out.
_____________________
"WHOLESALE REUSABLE GROCERY BAGS!!"
@etfp

300+ comments. At least a third of them are by the same cat--who didn't even like the movie, or Tarantino in general.

Lord lordy lord. The things people do for the shit they claim to hate.

I don't like Nancy Meyer. Quick, somebody post about the new Nancy Meyer movie, so I can spend all my time attacking anyone who appreciates her work. I'll even lump Nancy Meyer fans into a category with all kinds of generalizations, like "All you OK quiche eaters out there will like every shitty movie that Nancy Meyers makes!!! ARE YOU MAD?!?!? Kill yourself, quiche eaters!!! I LIVE TO MAKE THE QUICHE EATERS MAD BWAHAHAHAHA"

Cause Nancy Meyer fans be eating quiche and sipping that oolong all day long.

Anyway to get on track I thought Django was enjoyable as hell. It had faults, but overall it was more than solid.

...just like tyler perry does.

them black be women be "entertained"

and dudes and gals who like cartoon violence and snazzy one-liners and cool music like to be "entertained" by QT.

it's ALL enjoyable.

Cool.

Could you consolidate your thoughts into one well thought out post? So far all I got is that you hate everything QT does and found it was too harsh on the south?


**********
"naive as the dry leaves on the ground looking past the trees to the blue sky asking 'why me?'" -Blu

Why I still fuzz with the Lesson
http://open.spotify.com/user/brothersport86/playlist/3DhEhilho77Z0UCPbJlEJf

Just wait

It might not be the best review in the world, but it
definitely will do what it was supposed to and be
wildly entertaining

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Thought everyone did great besides QT, which was a small part. Of course Waltz and DiCaprio were the best among the cast. Foxx held it down as the quiet cowboy, but didn't bring anything memorable.

I have several gripes but it didn't ruined the film experience for me; It's prolonged and should have been at least 15-20 minutes shorter. End it at the first shootout. Wished Washington had a larger role, what a waste. And finally, the choice of music, I guess it worked but I was shaking my head when I heard Rick Ross.

Might be one of my favorite films this year. At least my top 10.

Way more enjoyable to watch than Cloud Atlas, The Hobbit or Dark Knight Rises....

First off, how can one be offended by this film? It is a spaghetti western that takes place in the deep south two years before the civil war. The N word was used as an identifier for all blacks in that era.

The film was damn good. The only film I plan on seeing more than once this year. Christoph Waltz was the man and most the best scenes in the film involve his interaction with Jamie Foxx.

I can't see Kerry Washington winning an Oscar for role although I hear she got nominated. She had less than ten lines in the film and most of it was in German. Her character wasn't fleshed out but that is because the film didn't center around Django's relationship with Broomhilda but the man's quest to get her back.

As for Samuel L. Jackson, his character all too familiar with some of us. That black dude that brown noses his boss so much he'll throw others under bus so he can succeed.

If I had any complaints it would be the length of the film, as some parts drag, especially the third act which involves candy land and Leonardo's character.

On The Lookout 4:
some new music. WTF is going on this year?

film was a caricature especially Samuel Jackson's character. The movie was an over blown string of gimmicks and long pointless dialogue.

master troll at work!

You did this to yourself

I was dreading the length of the film before I went in, but I was sincerely entertained the whole time. In fairness, there were absolutely things that could have been cut (the first bounty, the Klan-like group) but those were also some of the funniest parts, so to me it didn't drag. Part of that is a credit to Jamie Foxx. I haven't seen everyone in a theater openly root for a protagonist like that in a while. Cristoph and Leo nailed their parts as well. QT's appearance was the only awful part, but the scene itself was good enough to make up for it.

when white folks were squirming and when black folks were squirming.

it's entertaining as hell

Jaime was great, Christoph kills it as usual, both Leo and Sam Jack *WENT IN*, Kerry was great for what little she was given (um, the #broomhildafaint hash tag will be coming for real! LOL!), the cameos (Don Johnson, James Remar, Dennis Christopher, Zoe Bell, Bruce Dern, Jonah Bell, etc.) were surprising, fun and on point...

everyone in the movie was fantastic.

the film did drag in parts but overall, for the entire 3 hours (let's keep it real that shit was long), I wasn't bored at all.

Once again, QT proved he's a master at writing because the dialogue was so on point, present and hilarious.

I know he won't be nominated, but i woudln't be surprised to see his name in writing category for oscar (would it be original or adapted since this is loosely based on "Django"?)

opening theme song and the presence of Franco Nero so I'm hoping it would get him an original screenplay nod but I'm never sure how those things work

>opening theme song and the presence of Franco Nero so I'm
>hoping it would get him an original screenplay nod but I'm
>never sure how those things work

that's where i'm at with it.

I mean, people keep saying it's a homage to the first Django...

but, i'm not sure at all how it would be categorized.

I'm kinda hoping original screenplay because adapted is looking RIDICULOUSLY DEEP this year...Les Miz, Anna Karennina (sp?), Zero Dark Thirty, etc.

Although I haven't seen the original, so I'm not sure.

the original has nothing to do with slavery or the antebellum South as far as I know, but the two main characters are in the same mold (revenge killers, etc.)

there's a little more to it than that, but essentially, that was Django.


The Django character was also used in a variety of "sequels" that had nothing to do with the original Django movie (though Nero was in at least one, I'm pretty sure). I've only seen the original Django...it didn't impress me much, but I want to see it again now. It's been taken off Netflix Instant though.


these were the notes I took to myself after I saw it last May, gave it 3/5 (oh yeah, there is a scene that QT used for Reservoir Dogs, I forgot about that). They're shitty notes but they confirm what I thought, that there's really nothing similar and QT's in the lineage of fake sequels.


The acting is poor and the plot is even worse. But the costume design (besides Django himself, strangely enough) and especially set design is top notch. The muddy, derelict setting is perfect for such a grimly dark Western. The problem is everything about this movie sucks besides the ideas behind it and the style with which those ideas are attempted to be pulled off. But overall it reminds me of a comedy I watched recently, Derrick Comedy's Mystery Team. Like that film, Django takes chances with the definitive tropes of the genre and stands out stylistically from its peers. But it also fails to feel like more than a 30 minute episode of a television show stretched into an hour and half long feature.




EDIT: PARAGRAPHS BELOW ARE SPOILER-RIDDEN.
















And when Django shoots up all of Nathaniel's stock behind the bar with his gatling gun for the Mexicans it's just confusing because first of all he's making such good friends with the Mexicans for no apparent reason and two it's just a huge dick move. And Nero's voice (or voiceover actor, I'm really not sure how these Spaghetti westerns work I just know they're always dubbed) is just like Eastwood's which makes the comparisons to A Fistful of Dollars both too easy and too disappointing. It's kind of right what some others have said, Django seems like the Western equivalent of a blaxploitation film, without any of the witty dialog or self-knowing nods to the audience or the times.

Also, to anyone criticizing Tarantino over "stealing" the ear slicing scene: fine, since he copped to it. But I fail to see how you can steal dismemberment from someone, or how Django's scene relates in any way emotionally or stylistically to what Tarantino, Madsen and Kirk Baltz achieved.

However, while disorienting I do really like the bar fight scene and I like Django's choice in women; I'll always go for tan brunettes over pale blondes and I don't get the hype behind the other girl really.


~~~~~~~~~
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nominated under Best Original Screenplay

_______________________________________________________________________________________
Everybody knows that the best way to Attack The Media Status Quo™ is... by posting on a message board!

>nominated under Best Original Screenplay
>


that's what I thought....

completely different i agree with Original
__________________________________________________________
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Had he incorporated any of the characters from the previous film, then there *might* be an argument for Best Adapted Screenplay, but since he didn't, and -- more importantly -- there isn't (to my knowledge anyway) a 'Based on Characters Created by' credit anywhere in the Django Unchained credits, Tarantino would be nominated for Best Original...

_______________________________________________________________________________________
Everybody knows that the best way to Attack The Media Status Quo™ is... by posting on a message board!

If it was a toss up or a close call fir me I'd be riding with y'all, but shit I really enjoyed it. Shit was good.

it's not an award-type film. it's a popcorn flick and i'm really surprised that black folks are riding for it some "we needed THIS story told"..."this a W for US"..."THIS holds up a mirror to amerikkka and let's them see the REAL story"

it ain't none of that. it's a fuckin cartoon, man.

shit gettin naacp award noms and shit...and you know it's gonna win.

black people are some hurt ass people, young. ANYTHING for validation.

>it's not an award-type film. it's a popcorn flick and i'm
>really surprised that black folks are riding for it some "we
>needed THIS story told"..."this a W for US"..."THIS holds up a
>mirror to amerikkka and let's them see the REAL story"


Nobody is doing that.

Only about 15 posts in this thread are relevant.

The others are a bunch of shit from OE and others reacting to OE. In fact the mods are dumbasses for letting half this shit go on when this nut hadnt even seen the film.

it got nommed for NAACP awards dog.

niggas ain't viewing this as some movie. it's a W for the cause...whatever that is in 2013

and Di Caprio's performance was absolutely deserving of an Oscar nom.

we've fallen into this weird rhythm of only celebrating dark drama performances, but what's wrong with acknowledging an engaging, larger-than-life performance that still showed control and restraint when necessary?

i feel you. it is a live action cartoon. but there's nothing wrong with that if it's a well-made cartoon.

he was better than dicaprio

_______________________________________________________________________________________
Everybody knows that the best way to Attack The Media Status Quo™ is... by posting on a message board!

of blaxploitation?


~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

no...

not for ANYONE except quentin tarantino.

ok

~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

From Anthony Lane:

"Tarantino is dangerously in love with the look of evil, and all he can counter it with is cool—not strength of purpose, let alone goodness of heart, but simple comeuppance, issued with merciless panache."

That's really all his movies are. Stories of Cool vs. Evil. Which gets old fast over 90 plus minutes.

http://www.newyorker.com/online/blogs/culture/2013/01/how-accurate-is-quentin-tarantinos-portrayal-of-slavery-in-django-unchained.html

HOW TARANTINO GETS SLAVERY WRONG

POSTED BY JELANI COBB

In early 2010, not long after the release of Quentin Tarantino’s Second World War revenge epic, “Inglourious Basterds,” I began teaching a course on American history at Moscow State University. When a Russian friend asked me what I thought of the film I told him I loved the way the director created an alternate history in order to make a larger point about the universal nature of heroism. My friend and, as I later learned, lots of other Russians took issue with the film for precisely that reason. “Is this,” he asked, “how Americans really perceive World War II?” In Russia, where the annual May 9th celebrations of the German surrender dwarf those of the Fourth of July in this country, the sacrifices that were crucial to defeating Hitler are a point of huge national pride. The history department at the university features a marble monument to hundreds of university students who died defending the country. Because many Russians feel that the world—and particularly the United States—has never properly recognized the scale of their losses, they tend to see “Inglourious Basterds” not as a revenge fantasy but as an attempt to further whitewash their role in Hitler’s demise. The alternate history in “Inglourious Basterds” failed there because the actual history had yet to be reconciled. The movie’s lines between fantasy and the actual myopic perspectives on history were so hazy that the audience wasn’t asked to suspend disbelief, they were asked to suspend conscience. With “Django Unchained,” Tarantino’s tale of vengeful ex-slave, what happened in Russia is happening here.

The theme of revenge permeates Tarantino’s work. If the violence in his films seems gratuitous, it’s also deployed as a kind of spiritual redemption. And if this dynamic is applicable anywhere in American history, it’s on a slave plantation. Frederick Douglass, in his slave narrative, traced his freedom not to the moment when he escaped to the north but the moment in which he first struck an overseer who attempted to whip him. Quentin Tarantino is the only filmmaker who could pack theatres with multiracial audiences eager to see a black hero murder a dizzying array of white slaveholders and overseers. (And, in all fairness, it’s not likely that a black director would’ve gotten a budget to even attempt such a thing.)

The most recent Hollywood attempt to grapple with slavery was Steven Spielberg’s “Lincoln,” a biopic that presents the final four months of the President’s life and his attempts to shepherd the Thirteenth Amendment through Congress. Lincoln as he appears in the film is a man fully formed and possessed of a vast wellspring of indignation about slavery. But he also appears as the moral vector of his age in ways that don’t square with history. In focussing so directly on Lincoln’s efforts, Spielberg’s film slights abolitionists, radical Republicans, and, crucially, the African-Americans—slave and free—who pushed Lincoln to the positions he eventually adopted.

From its opening scene, “Django” inverts this scenario. Here is the spaghetti Western about an ex-slave turned bounty hunter who takes the bloody business of emancipation into his own hands. This is not Tarantino’s best film but it is probably his most clever. He plays fast and loose with history here, but there are risks implicit in doing this with a film about slavery that aren’t nearly as significant in toying with the history of the West. The history of the West is settled in ways that are not the case for the history of the American South and slavery. The film’s premise alone was enough to spark controversy. Spike Lee—a longtime critic of Tarantino—took the unwieldy position that he refused to see the film but knew that it would be disrespectful to his ancestors.

There are moments where this convex history works brilliantly, like when Tarantino depicts the K.K.K. a decade prior to its actual formation in order to thoroughly ridicule its members’ (literally) veiled racism. But, as my Russian friend pointed out about “Inglourious Basterds,” “Django Unchained” makes it apparent that not even an entertaining alternate history can erase our actual conceptions of the past.

In “Django,” the director creates an audacious black hero who shoots white slavers with impunity and lives to tell about it. In the Harlem theatre where I saw the film, the largely black audience cheered each time an overseer met his end. There is a noble undertaking at the heart of all this gunplay. Django, played brilliantly by Jamie Foxx, and King Schultz, his white bounty-hunter mentor—played by an equally adroit Christoph Waltz—are on a mission to rescue Hildy (Kerry Washington), the enslaved woman Django loves. The trade-off for an audience indulging in that emotionally powerful and rarely depicted brand of black heroism is overlooking aspects of the film that were at least as troubling as the other parts were affirming.

Primary among these concerns is the frequency of with which Tarantino deploys the n-word. If ever there were an instance in which the term was historically fitting it would seem that a Western set against the backdrop of slavery—a Southern—would be it. Yet the term appears with such numb frequency that “Django” manages to raise the epithet to the level of a pronoun. (I wonder whether the word “nigger” is spoken in the film more frequently than the word “he” or “she.”) Had the word appeared any more often it would have required billing as a co-star. At some point, it becomes difficult not to wonder how much of this is about the film and how much is about the filmmaker. Given the prominence of the word in “Pulp Fiction” and “Jackie Brown”—neither of which remotely touch on slavery—its usage in “Django” starts to seem like racial ventriloquism, a kind of camouflage that allows Tarantino to use the word without recrimination.

This is just the first path in the labyrinth of racial concerns that “Django” constructs. Here, as in “Lincoln,” black people—with the exception of the protagonist and his love interest—are ciphers passively awaiting freedom. Django’s behavior is so unrepentantly badass as to make him an enigma to both whites and blacks who encounter him. For his part, Django never deigns to offer a civil word to any other slave, save his love interest. In a climactic scene, Django informs his happily enslaved nemesis that he is the one n-word in ten thousand audacious enough to kill anyone standing in the way of freedom.

Is this how Americans actually perceive slavery? More often than not, the answer to that question is answered in the affirmative. It is precisely because of the extant mythology of black subservience that these scenes pack such a cathartic payload. The film’s defenders are quick to point out that “Django” is not about history. But that’s almost like arguing that fiction is not reality—it isn’t, but the entire appeal of the former is its capacity to shed light on how we understand the latter. In my sixteen years of teaching African-American history, one sadly common theme has been the number of black students who shy away from courses dealing with slavery out of shame that slaves never fought back.

It seems almost pedantic to point out that slavery was nothing like this. The slaveholding class existed in a state of constant paranoia about slave rebellions, escapes, and a litany of more subtle attempts to undermine the institution. Nearly two hundred thousand black men, most of them former slaves, enlisted in the Union Army in order to accomplish en masse precisely what Django attempts to do alone: risk death in order to free those whom they loved. Tarantino’s attempt to craft a hero who stands apart from the other men—black and white—of his time is not a riff on history, it’s a riff on the mythology we’ve mistaken for history. Were the film aware of that distinction, “Django” would be far less troubling—but it would also be far less resonant. The alternate history is found not in the story of vengeful ex-slave but in the idea that he could be the only one.

Django’s true nemesis is not the slaveholder who subjects Hildy to cruel punishments but Stephen, the house slave devoutly allied with the slaveholder. The central conflict is not between an ex-slave and a slaver but between two archetypes—the militant and the sellout. But in creating Stephen, Tarantino necessarily trafficked in the stereotypes he was ostensibly responding to. Samuel L. Jackson plays Stephen’s overblown insouciance and anachronistic mf-bombs to great comedic effect. There are moments, however, when ironies cancel each other out, and we’re left with a stark truth—at its most basic, this is an instance in which a white director holds an obsequious black slave up for ridicule. The use of this character as a comic foil seems essentially disrespectful to the history of slavery. Oppression, almost by definition, is a set of circumstances that bring out the worst in most people. A response to slavery—even a cowardly, dishonorable one like what we witness with Stephen—highlights the depravity of the institution. We’ve come a long way racially, but not so far that laughing at that character shouldn’t be deeply disturbing.

On the hundred-and-fiftieth anniversary of the Emancipation Proclamation, it’s worth recalling that slavery was made unsustainable largely through the efforts of those who were enslaved. The record is replete with enslaved blacks—even so-called house slaves—who poisoned slaveholders, destroyed crops, “accidentally” burned down buildings, and ran away in such large numbers their lost labor crippled the Confederate economy. The primary sin of “Django Unchained” is not the desire to create an alternative history. It’s in the idea that an enslaved black man willing to kill in order to protect those he loves could constitute one.

But, hey... many black people are still conditioned to pull the victimization card whenever they pleases.

For one, the film didn't show other slaves just passively awaiting for freedom. There's a lot of implied scenes to where some were accustomed to that way of life, some wanting to run away, some being inspired by someone like Django, and some as shown in the very beginning exacting the same kind of retribution against their oppressor when given the option.

Second of all, sometimes comedy is the best medicine when facing an god aweful truth, and the fact that Samuel L. Jackson played a house nigger to effectively, you had no choice but to laugh at the fact, because it is true. It was true back then and especially true today. The biggest enemy among black people is indeed ourselves, we are the ones that keep holding ourselves back.

you, O_E, and especially K-Badd (I don't even know why dude went- he was clearly walking in looking to hate). And you and OE have at least seemed to like it in spite of that pre-hate.

But, as you used to say of M.Night before he fell off the map, Django gonna do numbers and get nominations and you gonna be mad.

but them award noms...super pathetic.

~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

the author's plea copping for uncle toms ("it's not stephen's fault, it's slavery's fault! can't you see it's racist to root against him?!") is laughable and pathetic, as is his crying that the use of the N-word was "racial ventriloquism" for tarantino. but those aren't really worth getting into.

i'm interested in the comparison to inglourious, which i think is deeply flawed (the comparison flawed, not the film). the basterds, by shooting hitler, are rewriting the way in which hitler was defeated, true. the notion that this diminishes the struggle of the millions who actually defeated him is a valid critique. not one i really subscribe to, as i think inglourious-- like django unchained-- is so obviously cathartic fiction and not historical reenactment. but using real-life characters like hitler and goebbels does open it up to that kind of criticism.

django, on the other hand, is not defeating slavery. he doesn't shoot jefferson davis. he's not single-handedly taking out a regiment of confederate soldiers at gettysburg and turning the tide of the war. he's rescuing his wife and killing a few random, fictional slaveowners in the process. tarantino isn't saying this is how slavery was defeated or should have been defeated, which is one of the many straw men this author gleefully kicks over. he's telling the story of one fictional slave. criticizing QT for not also stopping to tell the stories of every slave in the vicinity is a fundamental misunderstanding of how films work-- their structure and pacing-- and a fundamental misunderstanding of what django unchained was about. criticizing filmmakers for not making the movie you wish they'd made is the weakest kind of criticism.

Aside from the excessive sadism utilized throughout the film in order to drive the plot, the dumbest part about this movie is the fact that King Shultz (the civilized european) miraculously develops sentimentality at Candieland after continuously murdering people and animals with reckless abandon.

So he can rationalize his violence as "being an instrument of the court (or self-defense)." He's a little less bloodthirsty if, as in watching the fight or the dude get torn up, the victim literally did nothing to deserve his treatment.

and an ironic extension of how
good vs evil is played out in the viewing of the movie

those racists are BAD
they deserve that
i'm not a racist though
i'm not BAD

meanwhile reaping the benefit from centuries of slavery
and having little to no sympathy towards people still receiving the backlash/fallout
of the hierarchy that is set up

...
to Candie's victims those slaves arent people let alone innocents
to Waltz those people are arent innocents and to him the slaves are not only people they are innocent
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

so that's how ya'll rationalize it?

cool.

fact remains, he was a cold-blooded killer who was depicted continuously murdering people w/ little to no context.. but they were "bad" so it's all okay I suppose.

what about the horse who he shot in the head? i suppose the horse was guilty by association?

technically within the boundaries of his duty he executed
convicted criminals
people aiding and abetting convicted criminals
and racists which apparently he viewed as an extension of his duty

this is the actual depiction
the rational of good/bad is on the audience
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

>technically within the boundaries of his duty he executed
>convicted criminals

slavery was legal, so the antagonists were operating within the boundaries of their duties.

>people aiding and abetting convicted criminals
>and racists which apparently he viewed as an extension of his
>duty

oh, well in that case, why not just walk around in a murderous rampage. after-all, in his "view" they're racists.

>this is the actual depiction
>the rational of good/bad is on the audience

the depiction is exorbitant violence from BOTH sides.

>
>the depiction is exorbitant violence from BOTH sides.
>


what exactly is your point here?


~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

i'm saying they're BOTH depicted as "bad." QT simply can't resist incorporating snuff every 20 minutes or so, even at the hands of his so called "good guy."

>resist incorporating snuff every 20 minutes or so, even at the

he's movies are not your cup of tea
you should admit that and leave action, thrillers, war movies and horror alone in general


have a good evening
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

It's a popcorn movie...simple and plain.

It's wildly entertaining - that first hour or so totally flies by. Some fun performances by Waltz and Leo here as well. But it's pretty thin, obviously deeply flawed, and pretty uncomfortable in many places (that scene with the dogs really messed with me).

I had a lot of fun watching it, and it's certainly the most fun awards season movie I've seen - but that's kind of the problem. It's NOT an awards season type movie. It's a popcorn flick - or as others have called it in here, a cartoon. There's nothing deep to understand about it. Though, it was kind of refreshing to not have to sit through a 15 minute scene of the characters talking about obscure movies since movies hadn't been invented in the time this film takes place.

I loved the look of it - pretty much as to be expected in a QT flick though.

I did turn to my wife when his cameo came up and just said, "Oh no". He was godawful.

Lots of fun, but not his top tier work. I don't know if it takes itself as seriously as a lot of people are taking it but...oh well.

>Lots of fun, but not his top tier work. I don't know if it
>takes itself as seriously as a lot of people are taking it
>but...oh well.

You just didn't get it. It was above your head.

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

I don't mean this reply. I mean with all your replying before you'd seen the movie. You WANTED it to be bad. Just admit it dude.

Not sure why you're picking on me, when I'm hardly
the worse offender in this post.

People decided they were going to make excuses for the
awful silliness in this film well before they say it.

>I don't mean this reply. I mean with all your replying before
>you'd seen the movie. You WANTED it to be bad. Just admit it
>dude.

As an African-American, I definitely did not want it to
be bad. That actually takes priority over my dislike of
any filmmaker for internet madmaking reasons. This movie
being gumball bullshit is really quite sad. I wanted QT
to deliver something memorable.





----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

And copping pleas

Don't expect you to hold onto that opinion

You thought for yourself for a change, rare for
you especially when it comes to Tarantino movies

By next week you'll be with Zootown and company
talking about "story aside, I enjoyed it thoroughly"

Bwahahahhah @ "story aside"

Motherfuckers PARDONING a shitty story

Bwahahaha only when its Tarantino



Your favorite director made a pile of shit.

It's like I'm typing to 2007 OE. It's weird.

Its automatic


----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

But then he met him in person and Tarantino wouldn't sign his Reservoir Dogs shirt or some shit like that.

And now Tarantino is his arch nemesis for ever and always...

Of course, that has nothing to do with the
Schultz plan to rescue Bromhilda being laughably
stupid

Or Schultz' shooting Candie being another wild,
dumbass plothole

Or Sam Jackson's role being overdone

Or the movie being too long

Or the movie in general being a C-level popcorn revenge
flick being billed as a profound exposition of race relations

Note how no one is addressing the plotholes other
than saying "it was supposed to be that way" or
"you just didn't get it"


----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Shouldn't be tough. This thread will do.


>Or the movie in general being a C-level popcorn revenge
>flick being billed as a profound exposition of race relations
>
>Note how no one is addressing the plotholes other
>than saying "it was supposed to be that way" or
>"you just didn't get it"


Spoiler: It's literally only you saying any of the above.

As in, taking the film to task for them and not
just excusing them with "Oh, that was within Schultz'
character" ??



----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Yeah, knew I was on to something.

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>It's a popcorn movie...simple and plain.
>
>It's wildly entertaining - that first hour or so totally flies
>by. Some fun performances by Waltz and Leo here as well. But
>it's pretty thin, obviously deeply flawed, and pretty
>uncomfortable in many places (that scene with the dogs really
>messed with me).
>
>I had a lot of fun watching it, and it's certainly the most
>fun awards season movie I've seen - but that's kind of the
>problem. It's NOT an awards season type movie. It's a popcorn
>flick - or as others have called it in here, a cartoon.
>There's nothing deep to understand about it. Though, it was
>kind of refreshing to not have to sit through a 15 minute
>scene of the characters talking about obscure movies since
>movies hadn't been invented in the time this film takes
>place.
>
>I loved the look of it - pretty much as to be expected in a QT
>flick though.
>
>I did turn to my wife when his cameo came up and just said,
>"Oh no". He was godawful.
>
>Lots of fun, but not his top tier work. I don't know if it
>takes itself as seriously as a lot of people are taking it
>but...oh well.

and yeah
lol he was
and he knows it

sadly though jamie took this seriously
but sankofaII explained why above
~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

~~~~
When you are born, you cry, and the world rejoices. Live so that when you die, you rejoice, and the world cries.
~~~~
You cannot hate people for their own good.

I do question any black person who hangs their hat
on this shit on some "Tarantino did this for us"
shit, who found this as some kinda "get back" nonsense.

If you thought it was a cool lil goofball movie, that's
fine, though.

Like I said -- this was slightly worse than 'Man With
the Iron Fist'.

I almost don't blame white people for liking this,
because they can't help it -- Tarantino lives the "down"
white guy's fantasy.

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>
>I do question any black person who hangs their hat
>on this shit on some "Tarantino did this for us"
>shit,

who the fuck ever is saying this? shut the fuck up damn

Why?

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Is that your answer?

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

dick gregory- called spike lee a thug and a punk cause he said he wouldnt see it

farrakhan(to an extent)-praised it

Luther Campbell aka Uncle Luke-said it is more relevant to black people than any film spike ever made

Its nominated for best picture

I loved the movie and I don't understand all the problems people had with the extreme use of the N-word, didn't they use that word a ton back then?

Parts of the movie were uncomfortable, but not because of the use of the n-word.

I mean it would have been more offensive if the plantation owners in the movie were going around saying negro or African American.

Its the least of this movie's problems

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Didn't all the stuff that happen in the movies probably happen back then? I'm not being a smart ass, I'm really wondering.

>Didn't all the stuff that happen in the movies probably
>happen back then?

No. Not really.

In fact, most people defending the film say "its just
fiction; you can't take it as historically accurate;
its just a movie; Tarantino meant it that way."

Whether its realistic at all isn't even a discussion.
Its silly and comic book-like.

My main problems are that even with that plea cop, the
story is awful. There are gaping plotholes. Of course,
when you mention them, people say:

- Tarantino meant it that way

- You didn't get it

Or my favorite:

- Why do you want movies to be perfect? Imperfection is
a part of film

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

>>Didn't all the stuff that happen in the movies probably
>>happen back then?
>
>No. Not really.
>
>In fact, most people defending the film say "its just
>fiction; you can't take it as historically accurate;
>its just a movie; Tarantino meant it that way."
>
>Whether its realistic at all isn't even a discussion.
>Its silly and comic book-like.
>
>My main problems are that even with that plea cop, the
>story is awful. There are gaping plotholes. Of course,
>when you mention them, people say:
>
>- Tarantino meant it that way
>
>- You didn't get it
>
>Or my favorite:
>
>- Why do you want movies to be perfect? Imperfection is
>a part of film
>
>----------------------------
>
>Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it
>you? http://MatchShannon.com/
>
>
>
>
>
>
>
>O_E: "Acts like an asshole and posts with imperial disdain"
>
>
>
>
>"I ORBITs the solar system, listenin..."
>
>(C)Keith Murray, "

The conservative crowd in San Diego would've made this shit uncomfortable.

Not for me, but watch them niggaz squirm and be confused.

I dug it though.

A little too long, and I could've done without the "WAIT....WE GOT MORE REVENGE COMING!"

Shit seemed pretty extra after Leo died. I just lost interest.

hearing everyone trashing it. I went in thinking it was going to be waaaaay worse than it was. A few short comings but over all very enjoyable. Oh and I saw it in an all black theater.

In this post < 90% of the replies are positive

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

You have WAY more than 10% of the posts in here.

No lie.

..comical approach to a serious issue durin' a horrible era in american history

reminiscent of "boss nigga" starring fred williamson ('75)

the cast was pretty solid, but i felt like a few people were wasted (namely kerry washington and jonah hill).

leo played that role to the fullest (and looked like he had fun with it)
christoph waltz gave a solid turn
samuel l. jackson gave such a convincing performance, you'd think he really was a house ni##a

foxx

jamie foxx was surprisingly funny, without tryin' to be funny. i actually think that's what makes his brand of comedy work.

the score worked with the flow of each scene and tarantino actually toned it down a bit in regards to his usual brand of gratuitous violence in film.

the ending was a bit cheesy, but certainly true to form.




-------
"..i was born a free man. nobody beat me accept i beat them right back..."

..and miles to go before i sleep...

Didn't know that sh*t was historically accurate. If people who otherwise won't sit through a slavery documentary get to learn about slavery through a QT movie, I can live with that.


**********
"naive as the dry leaves on the ground looking past the trees to the blue sky asking 'why me?'" -Blu

Why I still fuzz with the Lesson
http://open.spotify.com/user/brothersport86/playlist/3DhEhilho77Z0UCPbJlEJf

I thought this was gonna be a salad tossing party but Mitchell actually challenges him on some of the criticisms of the movie.

http://download.kcrw.com/audio/1318652/tt_2013-01-09-164652.6929.mp3

it's boutta be a whole generation's favorite movie.

I loved this movie. It was a lot of fun to watch.

Folks who are offended by this movie are a bit sensitive in my opinion. The word "nigger" being thrown around is expected, it would only make sense.

The most disturbing scenes in the movie:

1. Kerry Washington getting whipped.. I choked a little
2. The scene where dude was being killed by the dogs...I choked a little
3. The mandigo fight scene disturbed me

But I feel like these scenes needed to be in there.

Enjoyed it.

http://www.youtube.com/embed/CS34OiuNmG0?feature=player_detailpage%22%20frameborder=%220%22%20allowfullscreen

these things happen to most filmmakers, and it's Tarantino's turn now

>these things happen to most filmmakers, and it's Tarantino's
>turn now

He's never not been like that

In fact, that's what I thought we liked about him

----------------------------

Young Broadway Star Urgently Needs a Bone Marrow Donor. Is it you? http://MatchShannon.com/







O_E: "Acts like an asshole and posts with imperial disdain"




"I ORBITs the solar system, listenin..."

(C)Keith Murray, "

Im tired of hearing about this film.I just registered for passes to see it. With all bias aside, once I see it....I will give my brutally honest opinion and wont care what anyone else has to say.

http://www.mtv.com/videos/movies/872668/nas-defends-quentin-tarantinos-django-unchained.jhtml

I know Basa mad as fuck


*teehee*

this is the result of you not paying attention and being a moron.

i enjoyed the movie. i do not believe it's award-worthy. i believe it's a popcorn movie.

i believe old bammas like dick and farrakhan are a bit too cysed off them revenge visuals and they tryna attach some historical and cultural significance to a film that absolutely did not even ATTEMPT to have that level of depth to it...'cause they CYSED. you got two of the wisest old black men fallin over themselves to cyse a spaghetti western. it's ridiculous. and you got a rack of bammas calling dudes who simply didn't like the movie, won't see the movie or don't think the movie is anything more than "aight" UNCLE TOMS, PUNKS, THUGS AND BITCHES.

i ain't had nothing else to say about this movie. but, on top of all the stuff i just touched on, for you to now try to use Nas' completely benign comments to stir up MORE SHIT just proves to me once more: black unity is sucker's bet.

its an ok movie, but nothing fascinating though.

...i agree with the poster who said the movie is kinda over when Waltz dies.....everything after that 1st shootout was unnecessary and totally camp

i enjoyed the fact that it was harsh and then comical at times....a period of history so crazy and over the top in it's reality SHOULD have many aspects that seem comical now, and yet have other excessive realities that make a person cringe.....

http://www.cnn.com/2013/02/19/opinion/williams-django-still-chained/index.html

His blog has a more detailed critique:

http://jessehimself.tumblr.com/post/43450542625/me-tarzan-you-jane-me-django-you-chains


I definitely don't agree with all of it....but it's the most thoughtful critical analysis I've seen. Some of it is just nit-picking plotholes and trying to assign a racial significance to them with mixed results.

A couple things....imo, Django's choice of dress was not a joke to show black men being 'childish'. It's one of many ways that Tarantino tries to show some of the cultural ties between these historical characters and modern descendants of slaves...ie black people in 2010. See also when Django struts his horse in circles at the end of the movie. Perhaps these things are based on stereotypes.....black men are more fashionable than other male ethnic groups.....black men drive their cars with style....But the intent was not to show Django as childish imo.

\

http://jessehimself.tumblr.com/post/43450542625/me-tarzan-you-jane-me-django-you-chains

>http://www.cnn.com/2013/02/19/opinion/williams-django-still-chained/index.html


he put some serious thought into that shit. MUCH deeper analysis than what went into the making of the movie.

i don't know how much buzz it's getting but i like that it's an actor on a high profile television show that isn't just "angry" or "militant"

that nigga shook the SHIT out of the table.

http://insidemovies.ew.com/2013/03/25/will-smith-django-unchained/

Will Smith on turning down 'Django Unchained': 'I needed to be the lead'
by Adam Markovitz
Tags: After Earth, Christoph Waltz, Django Unchained, Jamie Foxx, Quentin Tarantino, Will Smith

Comments 50
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Will-Smith_510x317.jpg

Image Credit: Pablo Blazquez Dominguez/WireImage

When Quentin Tarantino’s western revenge-fantasy Django Unchained was first announced, casting rumors pegged Will Smith as the titular slave-turned-vigilante. But Smith, who teams with his son Jaden in this summer’s sci-fi epic After Earth, tells EW that he turned down the part because his character would’ve been second-fiddle to the bounty hunter (played by Christoph Waltz) who teaches Django his trade . “Django wasn’t the lead, so it was like, I need to be the lead. The other character was the lead!” says the Men in Black star, whose departure opened the door for Jamie Foxx to play the role.

Smith says that before he left the project, he even pleaded with Tarantino to let Django have a more central role in the story. “I was like, ‘No, Quentin, please, I need to kill the bad guy!’” (Ironically, Waltz was considered a supporting actor during his Oscar-winning award season, while Jamie Foxx was promoted as the movie’s lead.)

But no hard feelings: Smith was a big fan of the final product. “I thought it was brilliant,” he says. “Just not for me.”

It was cool. Not groundbreaking by any stretch, but moved well. Pretty good dialogue and the use of "nigger" didn't even stand out to me. For once, he picked a movie where it wasn't out of place. Acting was solid.

The plot was some convoluted bullshit, Tarantino's explanation in that article in no way makes it better. Schultz is OFTEN not the one in control. As slavery is still legal during the time of the film, he has to rely on the "restraint" of people to not shoot him for merely associating with this "nigger" who is riding a horse and fighting/killing white men. FOH.

The last scene should have been in the parlor room. The same dude who drops a lantern and blasts two dudes away in the beginning, and slips a gun from his sleeve to blast Candie, all of a sudden goes into slow motion so the triggerman can blast him? DUMB. All drawn out so that Django can get his final revenge. No fucking way they allow his ass to live to be sold to another plantation or Broomhilda to be alive.

These are some of the most restrained nigger-hating white folk EVER.

The music was also fucked up. It did NOT flow well with me, for certain music to be played in particular scenes, it took away from whatever seriousness was to be feigned and made it look like clowning.
This shit was a WESTERN, NOT a slavery period piece.

No need to keep going in, there was some other stupid shit but overall, it was entertaining. But NO DEEPER THAN THAT. Any who say it is, I'm tempted to look up your comments on other movies, but I ain't got time for all that.

Gonna peep that Jessie Williams article too.

In fact, it was very deep. it was a satire, and things you have mentioned made sense. Yes, dude got blasted, same dude that shot all these people coldly, gets slow-mo blast to the chest. Thing is, he knew they weren't walking out of there. He could have shook dudes hand and kept it moving, but he was too much of a man for that. The way i saw it, as a foreigner myself, was that Tarantino was looking at America through the eyes of a foreigner who wasn't as familiar with slavery as Americans (Germany, like Russia, wasn't involved in African slave trade as widely, one of the reasons why they lacked wealth with colonies, unlike France and England, sliding Germany down the financial slope, lack of which basically being the reason behind WWI). He saw America fir what it was: brutal, uncivilized and ignorant. That is why he found slavery off-putting,why he brought the whole D'artanian speach, to show Candie how ignorant and uneducated he really was. He made a fool out of him, subtly sliding that line in french (i forget exactly what he said), when Candies lawyer told him that he doesn't speak french and it embarrasses him. That besides all the riches, all his wealth, he was a dummy. And he embarrassed him. That's why Candie wanted to shake his hand, because he wanted to belittle him. So I completely understand why he went out that way. he wasn't thinking of retaliation, he was thinking of his morals that he never bent. He was a joker, but you see that he never went back on his words. It was evident wen he tried to calm Django down during their ride to Candyland and Django called him out. He had no problem admitting it. I personally saw it as a very deep message, at least it rang true with me. The music, specifically rick ross song, were on point. It painted pictures. That sng specifically was supposed to make you look at "black culture" then and where it is now.

It was what it was, which wasn't for me. I agree with Basa about it being a cartoon and normally, I'd be fine with that but QT was talking like he was breaking some new ground. But what really surprised me was how shoddy the structure was. Story-wise, the movie kind of sucked. Also, there was absolutely no need for the film to be as long as it was.

I get why people like it but, I don't know, I guess I'm just not a Tarantino fan anymore because I haven't really liked his revenge era films.

Yup, we bought it

Slavery party forever

__________________________________________________________________________________
And at that moment, I realized some of you aren't doing this for the shits-n-giggles that you're claiming