Films/DVD Asylum

Movies from comedy to drama to your favorite Hollyweird Star.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

Ingloreius Basstids: Drama, comedy, and pop schlock . . .

Posted by mr grits on August 21, 2009 at 16:07:33:
If Tarrantino could have resisted the pop schlock this could have been right up there with Pulp Fiction...buuut, that's hindsight.

First of all, Pitt is an ensemble member not a featured lead. There is an amazing cast of characters with dialogue and story line spread around equally. If anything, Christoph Waltz (Austrian actor) was the default lead and performed dramatically well in his scenes as the "Jew Hunter" of France. He was deadly clever in "Chapter One" in a prolonged interrogation with a French diary farmer in his country house. This opening scene sets the mood for an almost 100% dramatic film....but not to be thanks to Quentin.

Subsequent chapters showed the basterds in action and the actual bloody mayhem was somewhat subdued compared to what it could have been. The humor was punched up by Pitt's character and his Tennessee (by way of Texas) accent and it provokes spontaneous laughter from time to time when it becomes "inopportune".

Diane Kruger and Melanie Laurent dress up the screen with their very different characters as actress/spy and vengeful Jewess. And both have what seems to be "overly long" scenes to their credit.

I never would have expected Tarrentino to tackle a subject with such a serious historical background as there is a lot of room to look totally foolish or disrespectful to history. I suspect his few concessions to pop culture (labeling characters on screen) was to remind us he didn't want us to take him deadly serious.

It's entertaining and worth a see.