What's Your Favorite Tarantino Film?

The first weekly poll is now up in the sidebar. A little late, perhaps, since Inglourious Basterds came out more than a week ago, but I thought it'd be a good one to get things started. Let us know what you think.

Christoph Waltz and Inglourious Basterds

Here's the the first sure thing in the Actors' races this year. Christoph Waltz has a lock on a Best Supporting Actor nomination. I went to Inglourious Basterds this evening expecting great things from this guy, and I got them. The man commands every scene he's in. Brad Pitt, one of the biggest stars of today and easily one of the most famous men on the planet, couldn't hold a candle to his screen presence. That's saying something.

This is one time I'm pleased to know The Weinstein Company will run a brutal campaign, because I know awards lead to great career opportunities. Congratulations to Mr. Waltz, the attention is well-deserved.

As for my thoughts on Inglourious Basterds, I have to admit I have the same measured enthusiasm I have for most of Tarantino's films. The premise is loads of fun, the dialogue is fantastic as usual, and the characters (especially Waltz's Hans Landa) are engaging. Below the line work is top-notch, too, with beautiful cinematography and art direction, as well as great costumes.

But I was annoyed here and there with Quentin's continuing trend of self-indulgence. I also felt that there wasn't much of a flow to the film. It played more like several well-constructed individual scenes shown back-to-back.

Some of my criticisms may simply be a matter of taste, however. Inglourious Basterds made for a fun night in the theater, and one I'd freely recommend to anyone who enjoys Tarantino's work. If for no other reason, buy a ticket to watch Christoph Waltz work some magic, particularly in the beyond brilliant opening scene.

INGLOURIOUS BASTERDS

Written and directed by Quentin Tarantino

Brad Pitt
Melanie Laurent
Christoph Waltz
Michael Fassbender
Eli Roth
Diane Kruger

Premiere date: May 20, 2009 (Cannes Film Festival)
R for strong graphic violence, language and brief sexuality.

In the first year of the German occupation of France, Shosanna Dreyfus witnesses the execution of her family at the hand of Nazi Colonel Hans Landa. Shosanna narrowly escapes and flees to Paris where she forges a new identity as the owner and operator of a cinema. Elsewhere in Europe, Lieutenant Aldo Raine organizes a group of Jewish American soldiers to perform swift, shocking acts of retribution. Later known to their enemies as "the basterds," Raine's squad joins German actress and undercover agent Bridget Von Hammersmark on a mission to take down the leaders of the Third Reich. Fates converge under a cinema marquis, where Shosanna is poised to carry out a revenge plan of her own.

Cannes Film Festival
Best Actor - Christoph Waltz

NYTimes Interviews Diane Kruger

I wanted to post this a couple of weeks ago, but for some reason couldn't find an embed code. So here's another in the NYTimes series of screen test-style interviews, this time with Diane Kruger, the German actress in Tarantino's Inglourious Basterds. You'll be seeing plenty of these around here, because I love the way the actors seem so natural, and the questions aren't the same ones that are asked a hundred times over during a publicity tour.

Tarantino on There Will Be Blood

The headline says it all. I love to hear good filmmakers talk about good films, so I thought I'd share. I should get around to Inglourious Basterds tomorrow night, and after reading some great reviews, I really am looking forward to it.

Indiana Jones and the Inglourious Basterds

This fun poster didn't make it into The Weinstein Company's marketing plan for Inglourious Basterds, but it's pretty neat nonetheless. Remember the days when posters weren't simply blown-up movie stills? Wish we could get back to that era.

Numbers: August 23, 2009

1. (new) Inglourious Basterds - Gross: $37,602,000
2. (1) District 9 - Gross: $18,900,000 / Gross to date: $73,491,000
3. (2) G.I. Joe: The Rise of Cobra - Gross: $12,500,000 / Gross to date: $120,531,000
4. (3) The Time Traveler's Wife - Gross: $10,025,000 / Gross to date: $37,448,000
5. (4) Julie & Julia - Gross: $9,000,000 / Gross to date: $59,288,000
6. (new) Shorts - Gross: $6,600,000
7. (5) G-Force - Gross: $4,205,000 / Gross to date: $107,315,000
8. (7) Harry Potter and the Half-Blood Prince - Gross: $3,515,000 / Gross to date: $290,275,000
9. (8) The Ugly Truth - Gross: $2,850,000 / Gross to date: $82,887,000
10. (new) Post Grad - Gross: $2,800,000

Worth mentioning: This weekend marked the highest ever opening weekend for Quentin Tarantino. With $37.6 million, Inglourious Basterds topped his previous best opener, Kill Bill: Volume 2, which opened with $25.1 million in April of 2004.

Quentin Quentin Quentin

Lots of schtuff floating around today concerning Inglourious Basterds. Catch the film in theaters tomorrow (or tonight at midnight, depending on just how excited you are). To tide you over, here's some chatter about the film, its director and its stars.

Roger Ebert's jubilant review for the Chicago Sun-Times.

An interview with actor Christoph Waltz, who is almost guaranteed an Oscar nomination next January, over at FirstShowing.net.

Always worth a look, the official site.

The New York Times reports on the reaction of German critics.

Another interview, this time with the film's femme fatale, Diane Kruger.

Chicago blogger Ben Kenigsberg wonders if Inglourious Basterds is the most controversial film of the year. Someone should tell him about Antichrist.

Entertainment Weekly ponders the movie's box office clout and its potential positive effect on The Weinstein Company.

For The Love Of Quentin

Inglourious Basterds comes out in two days. As always when one of Quentin Tarantino's films hits theaters, everyone on every film site everywhere is discussing him and his works non-stop.

Now, I'm not saying Tarantino isn't worth talking about. His work is practically its own genre, and there's no doubt he is a master with dialogue and can draw great performances out of his actors, but I do get a little fatigued hearing nothing but "Quentin Quentin Quentin" for weeks on end. I think the reason is because I can tell how much he likes himself. I'm a big fan of several of his films (I'm watching Reservoir Dogs as I type), but his ego is annoying as shit.

That being said, it's hard to find a filmmaker with a more obvious love for the movies, and that's definitely something I admire.

Normally I would wait for a Tarantino film to hit DVD shelves rather than shelling out $8 at the theater to watch him pat himself on the back for two hours, but this time is going to have to be an exception. I make it a point to see all the Oscar-nominated performances each year, and Christoph Waltz is getting buzz so loud it's impossible to ignore. Will he be the first Tarantino-directed Oscar-winner?

xxx

I'm guessing I won't be the film's biggest supporter, but at least when you see one of Quentin's movies, you're seeing something original.

Cannes Winners

Last time I was here, the Cannes Film Festival was just starting up overseas. Well, obviously, we have a winner. Here's the full list of honored films from the festival.

Palme d'Or: The White Ribbon by Michael Haneke

Grand Prix: A Prophet by Jacques Audiard

Best Director: Brillante Mendoza for Kinatay

Jury Prize: Fish Tank by Andrea Arnold, Bakjwi by Park Chan-wook

Best Screenplay: Spring Fever by Lou Ye

Best Actress: Charlotte Gainsburg in Antichrist

Best Actor: Christoph Waltz in Inglourious Basterds

Lifetime Achievement Award: Alain Resnais

Short Film Palme d'Or: Arena by Joao Salivixa

Short Film - Special Distinction: The Six Dollar Fifty Man by Louis Sutherland

Prix Un Certain Regard: Dogtooth by Yorgos Lanthimos

Un Certain Regard - Jury Prize: Police, Adjective

Un Certain Regard - Special Jury Prize: No One Knows About Persian Cats by Bahman Ghobadi, The Father of My Children by Mia Hansen-Love

Cinefondation: 1st prize - Baba by Zuzana Kirchnerova, 2nd prize - Goodbye by Fang, 3rd prize - Diploma by Yaelle Kayam, Don't Step Out of the House by Jo Sung-hee

Camera d'Or: Samson and Delilah by Warwick Thornton

Camera d'Or - Special Distinction: Ajami by Scandar Copti

The one that shocked me was Best Director going to Brillane Mendoza for Kinatay. Not to say I know anything about Mendoza's directorial skills. I definitely don't. But Kinatay was so severely panned by the press during Cannes that I really didn't think it stood a chance at winning anything. The acclaim may prove to add ammunition to some AMPAS campaigns next year. Specifically for The White Ribbon, A Prophet, and Christoph Waltz's much talked about performance in Tarantino's latest.