ShangLuda Admirable film.

Livestonth I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

KnotStronger This is a must-see and one of the best documentaries - and films - of this year.

Suman Roberson It's a movie as timely as it is provocative and amazingly, for much of its running time, it is weirdly funny.

littletease In a nut shell...I tried to watch this when it came out, fell asleep after 15 minutes of it (the dairy farm bit).Its taken me this long to watch it. So it is a Tarantino film, bloody, gory but in a serious comical way. This film is great if you have time to read (unless your fluent in both French and German. Great story, I do not know if it is true to life, but you would hope so. A brilliant story and a great ending. Not as good as Django Unchained.Serious note, the best actor would be Christoph Waltz...he made his character real. Brad Pitt was in the film but I would say as a cameo...plus could not understand a flipping word he said. Melanie Laurent amazing too. We can not see such talent until its out in our face and I have seen some of it.

johnnyboyz Where it took everybody all of about thirty years to really discover sleazy; underhand; grungy 1978 Italian-American renegade war film The Inglorious Bastards, the amount of time that most of us will need to be able to identify it as an underwhelming, throw-away piece of nonsense that just doesn't amount to much, will be far less. For the record, The Inglorious Bastards is good fun for about thirty five minutes or so of its run-time; the film enjoying a resurgence in recent times thanks to American film maker Quentin Tarantino, and his similarly named 2009 piece about a platoon of sadistic American soldiers; efficient Nazi officers and undercover British agents congregating in Occupied France. The film's premise sees a rag-tag bunch of American troops in France during The Second World War on the run, their goal to apparently get to neutral Switzerland and try to see out the war so as to escape punishment. The film has fun with its concept for a set time and we're on board as a result: skirmishes kick off; the dialogue is blunt and effective while trouble within the band of brothers threatens at most turns. As it wears on and runs out of ideas, we begin to shift back the other way."I once killed a loud mouth Sergeant like you, they can only kill me once!" is the hostile cry aimed at a taunting hard-nosed American official as one of the Bastards is herded into the back of a truck so as to be hauled off for execution. The sense of these guys having little to lose and not easily humbled by whatever is thrown at them is effectively put across, we witness another Bastard kicking muddy water at one of the superiors as he too is hauled off following sentencing, effectively setting up what ought to have been a more involving, more enjoyable Second World War chase film revolving around the very antithesis to what an upstanding soldier serving his nation should represent. The Bastards, headed up by people like Bo Svenson and Fred Williamson playing troops of varying rank, stand out from the crowd; where the military police bare bland uniforms that possess no distinguishable features The Bastards are a mixture of people of different ethnicities sporting bomber jackets; large sunglasses and erratic moustaches to go with long, straggly haircuts. The sense of them standing out or being of a very different ilk to others of their sort feels prominent.During transport, the motorcade is attacked by the German air-force causing chaos and opening a window for most of the wrong-uns to escape; that sense of a three way fight between the Allies, the Germans and The Bastards coming across here for the first time. Armed with an array of MP40's; their razor sharp wit and a penchant for loose gambling, the Bastards are off trawling through the countryside trying to hide from their own troops and avoid The Wehrmacht all the same. The parts in which The War rages around The Bastards as they strive to get by are the best, the encountering of German private Adolf Sachs (Harmstorf) adding an extra and intriguing element to proceedings as to whether they can entirely trust him as he exclaims his dedication to the Allied cause. Enough is done so as to try and flesh these characters out, Williamson's Private Canfield is racially abused but finds solace with Svensson's Lieutenant while certain other characters' attitudes towards women hint that there's something a little more to them than just an exploitation archetype which makes these people tick.Unfortunately, it's when the film betrays its premise that everything becomes slightly less interesting. The film doesn't just fall apart at the seams but its reattaching of the clan of misfits and renegades that are The Bastards to the U.S. Army before having them go on a commando mission of infiltration and destruction comes close to doing so. Here, the film effectively re-rendering The Bastards nothing more than American troops fighting with The Allies against the Germans, thus defecting from the film's initial concept and as a result rewriting the central characters as anything but either inglorious, or indeed bastards. The moment the film suddenly decides to encompass plot is the moment everything comes apart, as if the half a dozen or so writers ran out of ideas between them and decided to run the film down another tangent entirely. Where the idea of these troops with established personalities and mentalities just 'existing' in Occupied France as they strive to escape, despite not knowing where they are and with many dangers in all directions, was good fun for the early part; all that gives way to repetitive and dull action orientated frills as the good guy Americans overcome the evil German bad-guys.Some cheap, easy female nudity is needlessly thrown in but there is one amusing monologue on behalf of a high ranking German official later on whom provides an entertaining thesis on why America is a nation of nothing but petty juvenilisation. Director Enzo Castellari does a heavy job with a number of long and heartfelt compositions that quite clearly want to bash home the idea that "War is Hell"; one of which is a slow track upwards revealing a bombed out city in the background with a road that's been similarly pummeled in the fore, but these are overshadowed by slow motion action sequences of explosions and gunfire which contradict earlier apparent approaches to the subject of war on film. There are spits and spots of goodness in The Inglorious Bastards, but its descent into the use of faceless German soldiers being annihilated by invincible American action men as a focal point to further plot, rather than as a supporting item to a set premise of a bunch of renegade soldiers trying to escape, is the turning point. It isn't necessarily bad, nor is it anywhere near brilliant; just an odd blend of the amusing with the frustrating.

Wendy Black I viewed this movie because the QT movie of the same title came out in 2009. I enjoyed the drama of this movie, the plot twists, and action. I was raised in the era of Clint Eastwood's Italian westerns and while this was a low budget Italian made film, it contains some of the elements that makes those movies so great.Slightly like the Dirty Dozen this movie remains true to history and looks deep into human nature. There is a lot of good action scenes and the acting is great for the style. There are better action war films to watch but few that will remain a classic like this one.While I did not enjoy the 2009 movie by QT, I must thank him for directing my attention to this title. Enzo Girolami Castellari is by far a much better director from viewing both movies of the same title. My advice is to rent both and come to your own conclusions.

zardoz-13 The prolific Italian helmer Enzo G. Castellari of "Any Gun Can Play "and "Payment in Blood" not only made terrific Spaghetti westerns, but he also made one of the best European B-movie World War II thrillers. This half-dozen "Dirty Dozen" actioneer consists of court-martialed American soldiers and a reckless Air Force fighter pilot. In 1944, they manage to escape from an armed escort of MPs after an enemy aircraft spots them. A German fighter attacks the convoy, and the MP guards actually shoot the prisoners as they jump out of the trucks for cover. Strapping tall blond Bo Svenson is cast as Lieutenant Robert Yeager; he was a pilot who used his P-51 Mustang to visit his girlfriend one time too many. As Private Fred Canfield, Fred Williamson endures racial slurs and prejudice from both sides. Williamson smokes his usual cigar and wears his handle-bar mustache. Once these fellows are free of the MPs, our anti-heroes head for neutral Switzerland. Along the way, they pick up a German deserter who agrees to lead them to Switzerland. Later, he dies tragically when he links up with a group of commandos and then is shot in the back by them. The deserters kill the commandos as revenge for their killing the German. Later, our heroes discover that they have killed Americans masquerading as Germans. Naturally, when the French Resistance come upon them, the Resistance believes that the deserters are in fact the commandos that they gunned down for killing the German. Consequently, they find themselves replacing those commandos to help a stubborn, hidebound colonel (Ian Bannen of "The Hill") accomplish his mission. Along the way, they allow the Nazis to capture some of their number so they can storm a stronghold and acquire motorized transportation. The Colonel and his commandos had trained to steal the gyroscope from the guidance system of a prototype of the new V-2 rocket warhead being transported on a Nazi train. Grudgingly, the Colonel uses them in place of his men. Our heroes are sympathetic and charismatic. "Eagles Over London" composer Francesco De Masi provides an atmospheric musical score, and Castellari orchestrates several machine gun clashes. He does an exceptional job with the firefight at the train, particularly with the use of slow-motion. The last battle displays energy with to spare with Nazis whirling as bullets riddle their bodies. At one point, they blow up a bridge, and one of the deserters makes a desperate "Great Escape" bid on motorcycle to pass along information to his comrades. There are couple of surprises and the guy who survives is not the one that you think will live. The matte work is reasonably well done in the long shots for this low-budget war epic. Five men wrote the screenplay. The train crash in the final quarter-hour is obviously a miniature exploding but looks pretty cool. "Inglorious Bastards" is diverting fun. Unfortunately, Quentin Tarantino's remake is nowhere as entertaining as Castellari's straightforward version. The graphics on the opening and the end credits was done by the same man who did similar graphics on Sergio Leone's "Fistful of Dollars."