 In German-occupied France, Shoshanna Dreyfus (Melanie Laurent) witnesses the execution of her family at the hand the Nazi Colonel Hans Landa (Christoph Waltz). Shoshanna 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 (Brad Pitt) organizes a group of Jewish soldiers to engage in targeted acts of retribution. Known to their enemy as "The Basterds," Raine's squad joins German actress and undercover agent Bridget Von Hammersmark (Diane Kruger) on a mission to take down the leaders of The Third Reich. Fates converge under a cinema marquee, where Shoshanna is poised to carry out a revenge plan of her own... Storyline: In Nazi-occupied France, young Jewish refugee Shosanna Dreyfus witnesses the slaughter of her family by Colonel Hans Landa. Narrowly escaping with her life, she plots her revenge several years later when German war hero Fredrick Zoller takes a rapid interest in her and arranges an illustrious movie premiere at the theater she now runs. With the promise of every major Nazi officer in attendance, the event catches the attention of the "Basterds", a group of Jewish-American guerilla soldiers led by the ruthless Lt. Aldo Raine. As the relentless executioners advance and the conspiring young girl's plans are set in motion, their paths will cross for a fateful evening that will shake the very annals of history. Written by The Massie Twins Reviewer's Note: Reviewed by Kenneth Brown on December 3, 2009 -- I don't think anything -- an intimate knowledge of writer/director Quentin Tarantino's canon, a love of inventive arthouse cinema, or an overview of the film's storylines and characters -- could have possibly prepared me for Inglourious Basterds, one of the most inspired and ingenious films of 2009. More than a fearless reimagining of Enzo Castellari's The Inglorious Bastards (a bloody bit of '70s escapist exploitation that bears little resemblance to Tarantino's Oscar-worthy tour de force), more than a provocative revenge fantasy brimming with snarky subtitles and startling shootouts, Inglourious Basterds cuts a blazing swath through the heart of Nazi-occupied France with mesmerizing performances and nearly unbearable tension. Its theatrical trailers have been revealed to be over-seasoned appetizers for a far more complex main course. The buzz and critical acclaim it's received since its release have failed to convey how rich and elaborate its narrative truly is. Even this writer's humble and wholehearted review will prove itself inadequate in expressing how wonderfully rewarding Tarantino's latest film can be. Simply put, abandon all expectations ye who enter here. First things first, Inglourious Basterds is not a Brad Pitt vehicle. Pitt appears, sure. He even makes the most of his infectiously funny scenes as Lieutenant Aldo Raine, the leader of a special unit of Jewish American soldiers tasked with killing anything and everything wearing a swastika. But he's merely a supporting player in a perfectly cast ensemble whose success rests on the performances of several relatively unknown actors. Christoph Waltz steals the entire film as Nazi Colonel Hans Landa, a ruthless interrogator whose unassuming smile disarms his enemies and conceals the vicious monster resting behind his gentle eyes. His introduction is an unnerving twenty minute salvo in which he discusses his life's work with a father of three (Denis Menochet) hiding a family of Jews beneath his floorboards. Shockingly, Waltz's scenes only grow stronger as he uses several languages to manipulate a series of captives and shine a piercing light in every shadowy corner he encounters. Then there's breakout show-stopper Mélanie Laurent as Shosanna, a girl who once escaped Landa's clutches, fled to Paris, and is now plotting to use a premiere event at her theater to kill as many Nazis as she can. Her determination brings her in contact with Joseph Goebbels (Sylvester Groth), a variety of high-ranking German officials and, eventually, Hitler himself (Martin Wuttke, painting a fittingly delusional portrait of history's most reviled madman). Elsewhere, Pitt and his cohorts -- played by Eli Roth, Til Schweiger, B.J. Novak, and Omar Doom, among others -- are hard at work contacting Bridget von Hammersmark (Diane Kruger), a famous German actress who's willing to provide Aldo's team with information and access to the very same premiere Shosanna is planning to burn to the ground. Working alongside British soldier Archie Hicox (Michael Fassbender), the Bastards have to outwit a Gestapo major (August Diehl), slip past Landa, and take a shot at Hitler and his high command. The boys are certainly willing, but the mission is suicide. As the two assassination attempts converge, we also meet British General Ed Fenech (Mike Myers), Winston Churchill (Rod Taylor), Goebbells' mistress (Julie Dreyfus), the lone survivor of a Bastards' attack (Sönke Möhring), Shosanna's stoic confidant and co-conspirator Marcel (Jacky Ido), and war hero and star of Goebbels' latest propaganda piece, Fredrick Zoller (Daniel Brühl). But as densely populated as the film becomes, it retains its focus on Waltz's murderous Colonel and Laurent's hauntingly beautiful Shosanna. Both inject gravitas into roles that could have easily been overshadowed by Pitt's presence; both bring a welcome sense of intelligence to a film that could have easily been a WWII-themed Kill Bill (no disrespect intended). Inglourious Basterds quickly proves itself to be more than the sum of its initially disconnected parts. Simultaneously a simmering psychological thriller, an introspective multi-character study, and an absurdist's dreamscape littered with scalps and gruff vigilantes, Tarantino's slow-brewing stunner is a smartly penned drama and a wry comedy, a harrowing actioner and a restrained, performance driven triumph. As he did with Pulp Fiction, Inglourious Basterds is concerned with the anticipation and inevitability of its violence, not the celebration of it. Almost every major set piece revolves around two or more characters having a conversation at a table, hardly the sort of scenario you'd expect to produce the most intense encounters I've had the pleasure of biting my nails through in the last five years. But that's exactly what Tarantino provides: lingering stretches of hushed chatter followed by brief, explosive bursts of blood-soaked madness. It's these contrasting moments that allow the film to leave such a lasting impact, but it's Tarantino's meticulously crafted five-act screenplay that allows the vignettes and characters to resonate so effectively. Whilst paying tribute to film's enduring legacy, recalling classics of old, and referencing long-forgotten foreign cinema, the Reservoir Dogs auteur serves up the most refined, most fully developed dialogue and characters of his storied career. Each chapter could have been its own film; each character could have been the focus of his or her own tale; each scene could be replayed as a testament to Tarantino's skill as both writer and director. Even after sitting through two-and-a-half hours of Inglourious Basterds, I would have gladly stayed in Tarantino's Nazi-occupied France for another three. Sure to earn nominations and awards aplenty, don't miss the opportunity to take in one of the most audacious, resourceful, and unpredictable movies of 2009. It's every bit the magnum opus raving critics and eager cinephiles have declared it to be. And you know something, dear readers? I think this might just be Tarantino's masterpiece. Inglourious Basterds must be seen to be understood. Trailers, word of mouth, and reviews (yes, even this one) cannot possibly convey the intricacies of its script, the prowess of its performers, or the harrowing atmosphere of its unforgettable scenes. I cannot express how spectacular it all is. To my relief, Universal has treated Tarantino's masterpiece with the utmost care. While its supplemental package leaves something to be desired, its video transfer is a faithful, filmic stunner and its DTS-HD Master Audio track is a rousing, enveloping achievement. Not everyone will adore Tarantino's latest as much as I did, it can be quite divisive in its departure from convention, but it comes with my highest recommendation. Cast Notes: Brad Pitt (Lt. Aldo Raine), Mélanie Laurent (Shosanna Dreyfus), Christoph Waltz (Col. Hans Landa), Eli Roth (Sgt. Donny Donowitz), Michael Fassbender (Lt. Archie Hicox), Diane Kruger (Bridget von Hammersmark), Daniel Brühl (Pvt Fredrick Zoller), Til Schweiger (Sgt. Hugo Stiglitz), Gedeon Burkhard (Cpl. Wilhelm Wicki), Jacky Ido (Marcel), B.J. Novak (Pfc. Smithson Utivich), Omar Doom (Pfc. Omar Ulmer), August Diehl (Major Dieter Hellstrom), Denis Menochet (Perrier LaPadite), Sylvester Groth (Joseph Goebbels). IMDb Rating (07/24/14): 8.3/10 from 591,206 users Top 250: #99 IMDb Rating (10/24/09): 8.6/10 from 80,066 users Top 250: #45
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