After being sent to a chain gang after rebelling against his owners, Django is recruited by a German bounty hunter (Inglorious Basterds Oscar winner Christoph Waltz) to help him settle an old score. Django has information that Waltz’s Dr. King Schultz needs, so the German mercenary liberates the slave and promises that if he helps him kill the Brittle brothers, Django’s old owners, he’ll make it worth his while.
Along the way, the duo end up crossing paths with Leonardo DiCaprio’s hammer-wielding character, a deranged plantation owner named Calvin Candie, who likes to make his toughest slaves fight to the death in gladiatorial combat. —EW
Tarantino was born in Knoxville, Tennessee, the son of Tony Tarantino, an actor and amateur musician who was born in Queens, New York, and Connie McHugh, a nurse. Tarantino’s father is Italian American and his mother is of Irish and Cherokee ancestry. He was raised by his mother, as his parents separated before his birth. When he was two years old, he moved to Torrance, California and later to the Harbor City neighborhood where he went to Fleming Junior High School in Lomita and took drama classes. He attended Narbonne High School in Harbor City for his freshman year before dropping out of school at age 15, to attend an acting class full time at the James Best Theater Company in Toluca Lake.
At age 22 he worked at the Video Archives, a now-defunct video rental store in Manhattan Beach where he and fellow movie enthusiasts, including Roger Avary, discussed cinema and customer video recommendations at length. He paid close attention to the types of films people liked to rent and… read more
Other than Pulp Fiction, this film is Tarantino's masterpiece. There is some awesome historical content at play here, mixed with a contemporary spin, with humor that is very accessible to a modern audience. I thoroughly enjoyed Jamie Foxx and how his character of Django develops, but also Christoph Waltz managed to crack me up more than once with his dry humor. Also beautifully photographed. Brilliant picture.
A force de caricaturer le cinéma, le cinéma de Tarantino fini par être une caricature. Tarantino continue son cinéma en roue libre, mais pour montrer quoi ? Qu'il aime le cinéma ? Et puis ? Il continue à faire du grand guignol avec beaucoup de moyen, certes, c'est un peu plus profond par moment que les blockbusters américains... Mais ça ne vole vraiment pas loin. Décidément, j'accroche pas.
Mondo’s new Taxi Driver poster, Richard Brody & James Gray remember Ric Menello, Rosenbaum is Moving Places again & more.
In our annual poll, we pair our favorite new films of 2012 with older films seen in the same year to create fantastic double features.
Striking images of the late Paulo Rocha, 2012 musings from David Hudson & Brandon Harris, interviews with Miike, P.T.A., Ferrara & more.
Three greats pass away, trailers for new Tarantino and Bigelow films, expansive thoughts on Brian De Palma, and a pre-Code classic in full.
Who would have thought a film about slavery would appear to be so lighthearted? The first trailer for the new Tarantino is here.
The debut of our new weekly column of essential reads, watches & listens.
A force de caricaturer le cinéma, le cinéma de Tarantino fini par être une caricature. Alors oui, tout est parfait : dialogues, personnages, photo, musique… Mais la bouffonnerie et la tension dramatique… read review
As revenge films go, this is more of a mashed-up tribute than an original work. I have always loved Tarantino’s dialogue, but this feels more like a pastiche of “Inglourious Basterds” than anything… read review
You know what is admirable? Restraint. You know what is fun to watch. Shit getting blown up. If there was any doubt left in anyone’s mind about Quentin Tarantino’s ability to masterfully balance the… read review