Tag Archives: Django Unchained

The Hateful Eight (2015)

Hey — it’s Christmas! Let’s go to the movies. Slug some hot chocolate, throw on your wool hat, follow the colored lights strung from tree to tree on the citywide commons to the movie theater or the cinema or the multiplex or whatever you call it in your neck of the woods. I’ll get the tickets, you get the popcorn. What do you want to see? It’s Christmas, remember, so we need something that will encourage our merriment and warm up our capacity for joy. That disqualifies The Revenant. What about Star Wars for the fifth time? What do you mean you saw it again this morning? Why didn’t you invite me? Whatever, just go get the popcorn.

Here we go: a new Tarantino movie. One would think that a brand spankin’ new flick from Tarantino would, if nothing else, be entertaining. It’s Tarantino. This is the diabolical purveyor of histrionic, action-packed jaunts that bleed style and ooze cool, of movies that have banging soundtracks and automatically generate an Academy Award for Christoph Waltz. This is the director that champions violence in film as fun, responding to the masses that claim violence in film is a potentially toxic influence on viewers with a beautifully composed shot of red blood spewing out of a newly-severed neck. Take that! The violence-is-bad point always reminds me of part of the testimony of famed censorship bogeyman William Gaines during the 1954 hearings on the validity of the violent comic books he produced: “Do we think our children are so evil, so simpleminded, that it takes a story of murder to set them to murder, a story of robbery to set them to robbery?” I picture Tarantino saying that, only with a lot more gesticulation and overeagerness and a lot of “alright, you know, okay?” and a lot of averted glances.

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The Quick and the Dead (1995)

A quick glance at Sam Raimi’s filmography shows a greater preoccupation with iconography than with originality. He’s retread the old “cabin in the woods” and “superhero origin” tropes three times over (four if you count Darkman), yet, Robert Frost be damned, it has made all the difference. Through Evil Dead and Spider-Man, Raimi has evaded the title of “hack” to become both an auteur and blockbuster filmmaker, which is no easy feat when you’ve made Spider-Man 3. He manages to inject adrenaline and humor into genres that would die of exhaustion under any other director’s hand. As for The Quick and the Dead, the Western genre has only benefited from the Raimi treatment.

The Quick and the Dead reminds us of familiar Western figures straight away: the blind shoeshine, the bumbling barkeep, the merciless sheriff, the one-eyed ex-convict, and a flamboyant assortment of gunslingers. Of course it wouldn’t be a Western without the nameless hero, and fortunately we have Sharon Stone to give us an emotional anchor as The Lady amid a grotesque cast of caricatures. She arrives in town to exact revenge on the sheriff for the murder of her father, but gets roped into a quick draw dueling competition before she can do the deed. Continue reading The Quick and the Dead (1995)

Django Unchained (2013)

Nothing says “happy holidays” like an incredibly violent, utterly vulgar, yet strangely comedic look at slavery and racism in the Antebellum South. Quentin Tarantino’s latest effort has garnered exceptional critical support, seeming to morph together styles and tones from three of his previous cinematic achievements: Reservoir Dogs, Kill Bill, and Inglourious Basterds. The scope of the film is quite epic, occurring over months in various Southern states, yet it in no way takes itself too seriously. Instead, Django is extremely humorous and several of its minute details, when given closer examination, actually seem rather bizarre, almost finding itself belonging to the Wes Anderson genre of film. While dealing with a very serious topic and maintaining an ethically appropriate opinion of said topic, Djano truly reels in its audience with its Oscar-winning dialogue and impeccable acting. The film may seem controversial to some, but anyone really paying attention will easily be able to understand the stance the film is taking.

The film has a subtle but significant Reservoir vibe to it. The plot is intricate and well thought-out; dramatic irony (when one or more characters are aware of something that others are not privy to) is abundant; and there is even a particular scene in Django that is a directorial parallel to a different scene in Dogs. Let’s discuss the similarity in complexity of the plot. These movies are no rivals to Inception when it comes to complex storytelling, nor are they trying to be, but they do certainly contain these types of elements. Dogs places a police officer undercover in the mafia, thus tricking the mafiosos into believing that he is one of them. Django places an African American in the fourth largest slave plantation in Mississippi, posing as an expert in the well-regarded field of Mandingo fighting; in front of Leonardo DiCaprio, no less. This similarity simultaneously explains both the intricacy of the plot and the abundance of dramatic irony. And then there are the scenes using the slow-motion walk. If you do not recall what I am talking about, you now have an excuse to go rewatch these fantastic films.

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Bring Me the Head of Alfredo Garcia (1974)

Sam Peckinpah is nearly always divisive in his filmmaking, but perhaps never more so than with Bring Me the Head of Alfredo Garcia. Unlike The Wild Bunch or Straw DogsAlfredo Garcia (or BMTHOAG, as it may be lovingly referred to) isn’t necessarily controversial because of the level of violence. While other Peckinpah films seem set as classics even in spite of their explicit scenes of brutal violence, most people just can’t decide whether Alfredo Garcia is any good or not.

The set-up comes in the wake of the proclamation that serves as the film’s title. Alfredo Garcia has impregnated a young girl, and her powerful father offers a million dollars to the man who delivers him from the neck up. Warren Oates plays Bennie, a piano player in a rundown bar who eventually becomes tangled up in the hunt for Garcia at the prospect of a large payoff. His girlfriend, played by Isela Vega, comes along for the ride – and needless to say there are vicious consequences. Soon the head of Alfredo Garcia is in Bennie’s possession, but a darker drive swells up within him and his plans change.

Why would people dislike Alfredo Garcia? For starters, the set pieces from the first half of the movie leave a lot to be desired. In fact, there aren’t very many set pieces at all between the initial “Bring me the head!” scene and a mid-movie altercation with two biker thugs. This altercation serves a) to begin to show a few cracks in the otherwise happy-go-lucky demeanor of Bennie (as Warren Oates brilliantly snarls “you two guys are definitely on my shit list”) and b) to show the promiscuity of Bennie’s girlfriend. Both of these revelations are compounded and built upon in later scenes, but during the scene in question the sense of urgency and pacing of Garcia seems lost.

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