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100A big, bold, audacious war movie that will annoy some, startle others and demonstrate once again that he’s (Tarantino) the real thing, a director of quixotic delights.
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100Basterds isn't so revolutionary or so finely crafted as "Pulp Fiction" was, but it crackles with the same energy and imagination and chutzpah.
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100It's not enough to say that Inglourious Basterds is Quentin Tarantino's best movie. It's the first movie of his artistic maturity, the film his talent has been promising for more than 15 years.
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100With Inglourious Basterds, Quentin Tarantino has made his best movie since "Pulp Fiction." He has also made what could arguably be considered the most audacious World War II movie of all-time.
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100It's just possible that Tarantino, having played a trick on history, is also fooling his fans. They think they're in for a Hollywood-style war movie starring Brad Pitt. What they're really getting is the cagiest, craziest, grandest European film of the year.
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90Energetic, inventive, swaggering fun, Quentin Tarantino's Inglourious Basterds is a consummate Hollywood entertainment--rich in fantasy and blithely amoral.
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88May be the most fun you'll have at the movies this summer.
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88Tarantino exercises both his obsession with vengeance and his fascination with the movies.
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88With its exploded notions of heroism, torture-rack dramatics and kamikaze gusto, it's a fiendishly entertaining flick.
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80A fairy tale about the infinite power of film, it boasts all his swaggering trademarks: rapid-fire dialogue, gleeful violence, endless cultural references. But it's the sharp-eyed deliberation that makes the greatest impact.
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80With a confidence typical of its director, the last line of Inglourious Basterds is, "This might just be my masterpiece." While that may not be true, this is an often dazzling movie that sees QT back on exhilarating form.
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80Spelling may not be Quentin Tarantino’s forte, but his grasp of language (both verbal and visual) is peerless.
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80Even more than his other genre mash-ups, this is a switchback journey through Tarantino’s twisted inner landscape, where cinema and history, misogyny and feminism, sadism and romanticism collide and split and re-bond in bizarre new hybrids. The movie is an ungainly pastiche, yet on some wacked-out Jungian level it’s all of a piece.
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80A violent fairy tale, an increasingly entertaining fantasia in which the history of World War II is wildly reimagined so that the cinema can play the decisive role in destroying the Third Reich.
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75For anyone professing true movie love, there's no resisting it.
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75In Tarantino's besotted historical reverie, real-life villains Adolf Hitler and Joseph Goebbels are played as grotesque jokes. The Basterds are played as exaggeratedly tough Jews. The women are femmes fatales.?
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75It's a film with many strengths, but it's not a knockout. And that's Tarantino's own fault, though not in the first way you might imagine.
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70The biggest, weirdest, ugliest cartoon in Inglourious Basterds is Aldo Raine, the Nazi-killing American Lieutenant played by Brad Pitt.
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70Tarantino's radical rewriting of the war's ending is audacious and perversely enthralling. But if Inglorious Basterds were about something more than the cinematic thrill of watching Nazis suffer, it could have been a revelation.
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70Tarantino has already caught some flack for daring to use the Holocaust as material for another of his bloody live-action cartoons, but of course the generation that experienced it for real has mostly faded away. In that sense Inglourious Basterds is a social marker as startling as "Easy Rider" was in its day.
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67The film on the whole feels unusually labored and conventional by Tarantino standards. Reducing World War II to juvenilia isn't the problem; the problem is that juvenilia needs to pop.
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67For all its stylistic flourishes and interlocking storylines, Inglourious Basterds is, at its bullet-riddled core, a bloody good war movie, twisting and twisted and full of wordy shrapnel but no less kickass for it.
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67its moments of greatness--and there are more than a couple--feel weirdly disconnected, stuck in a movie that doesn’t know how to put them together, or find a good way to move from one to the next.
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67No one else in Inglourious Basterds comes close to Landa for sheer charisma.
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63The result is a Jewish “Death Wish,” to borrow Pauline Kael’s description of “Marathon Man,” amped up to epoch-changing proportions, made by a gentile writer-director with an unlimited appetite for celluloid, right down to its highly flammable properties.
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63A manically playful revenge fantasia made from the spare parts of Sergio Leone spaghetti westerns and strapping World War II action flicks.
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60The film is by no means terrible -- its two hours and 32 minutes running time races by -- but those things we think of as being Tarantino-esque, the long stretches of wickedly funny dialogue, the humor in the violence and outsized characters strutting across the screen, are largely missing.
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60Unwieldy, long-winded, self-indulgently nutso and, in places, very, very boring. It also caps off its two-and-a-half-hour run time with an extended finale – partially orchestrated to David Bowie's "Cat People" theme song, no less – that I could watch again and again with pleasure
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50Less a Holocaust retribution fantasy than a messy homage to war movies, and to movies, period.
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50Let's start with this certainty: No one but Quentin Tarantino could possibly have made Inglourious Basterds . Now add another: No one but his most ardent fans will be entirely glad that Quentin Tarantino did make Inglourious Basterds .
User score distribution:
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Positive: 297 out of 400
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Mixed: 28 out of 400
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Negative: 75 out of 400
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JimD.3