This movie was fucking awesome.
You know what wasn’t awesome though? The preview for shitty Scary Movie 5. That was the shittiest preview I’ve ever seen in my life son. I actually felt insulted they showed that asstastic wackness. The Marlon Wayan’s haunted house parody looks miles better and I’m not too interested in seeing that one in theaters either.
NO ONE laughed at Scary Movie 5 in the theatre I was at. That should tell you how horrible that is gonna be. Now Haunted House got a lot of laughs. Testament to how good the Wayans brothers are.
I really can’t wait for the Original Cut release of this movie…I kinda felt like they held back on the violence, I do want to see how the movie was really supposed to be.
Haunted House looks meh, a 4/10 probably, still gonna see it though probably not in theatres.
Scary movie 1 & 2 were fucking great, shame they just won’t let the series die.
You should’ve learned not to argue with me. You must’ve forgot who I was calling me “that dude”. How you been?
wait there is a scary movie five
okay, saw django again today with a different group of people
totally saw the balls and dick, then again, i was in a different theater, in a different city
Anything else you notice in your second viewing? I’m thinking on wether I want to wait til it hits blu-ray to see it again or if I want to go back to the theatre.
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Lol, naw son, I was referring to the cat in that article lol.
Man, just living day by day, still getting my rocks off to this silly ass site. Site has kinda gone down the shitter if you haven’t yet noticed.
tl;dr: This should have been called RockB: The Movie. 
QT is one of the few directors left who actually knows how to shoot and cut a damn scene. Absolutely go see this at the theater.
What’s cracking the fuck up out of me is that so many people are objecting to the N-bombs* in this movie (which uses them in a period-correct context and contains fewer of them than an average day of posting on SRK) when the movie itself is an extremely bloody revenge genre picture about a freed slave who hunts and kills white people for money.
Did the MPAA rating committee personally spoonfeed you guys your sense of moral priorities? Jesus fucking christ.
(*I won’t type the full-length version because I will freely admit that I’m not comfortable using it aloud, and I’m not going to type something that I wouldn’t be comfortable saying. That said, I will not take issue if other white people are comfortable saying it, such as QT, who near as I can figure is not in the business of demeaning and dehumanizing black people. P.S. Fuck all you cunt-ass poopdicks)
In my experience, the real moral issue in this movie is the question of whether or not it is right to exact vengeance upon people by doing something to them as bad as or worse than what they did to you. Quibbling over the way it uses language (which, if you must be mollified, is historically appropriate at the very least) is kindergarten nonsense.
Morality aside, Django is Tarantino in fine form. His grasp of meticulously staged violence is much like his poetic treatment of profanity. He takes things that are normally ugly and implemented in a utilitarian way by other filmmakers and brings out the beauty in them. He can make them abrasive, funny, suspenseful, or even deliberately matter-of-fact. This is why his movies stand apart. Most filmmakers use film like a box of tools and he uses it like a symphony orchestra. Even if people don’t like seeing violence, profanity, and real-world tragedy used in the service of a revenge fantasy–in other words, even if they don’t like the stories themselves–they have to admit that Tarantino at the movies is a master storyteller in the company of journeymen.
And speaking of his use of those things in service of his stories, I have no qualms about that. Most movies designed to make viewers feel good about their emotional impulses (in other words, most movies) borrow from life in some way. This is as true for a revenge fantasy set in slave times as for anything else. I don’t think Django has to be justified in terms of having larger social value any more than Iron Man does.
Anyway, I didn’t think the movie ran too long. I do think it went past the point where most movies would have logically ended, but it avoids Return of the King bajillion ending syndrome because the material after that point still feels like part of the story. It’s an extended epilogue or a final episode or whatever, and it allows the character to get what he’s after on his own terms. It would have been a cheat if he got what he wanted at the indulgence of the white characters.
And so many fucking great actors. Jamie Foxx probably has the most thankless job. He’s got the Clint Squint down and he functions as a taciturn western-style hero, but it isn’t the meatiest role. The main thing that impressed me was that he was credible as a black man in the 1850s who can speak to white people as an equal and get away with it, which is a hell of a thing to pull off. Christoph Waltz is brilliant all over again, very similar to Hans Landa but on the completely other side of the moral fence. He seems to savor every word of his lines.
But I think the standout was Samuel L. Jackson. All I could think of was something Tarantino said about Pam Grier, who was originally considered for the role of Eric Stoltz’s wife in Pulp Fiction: “I just couldn’t buy Pam Grier getting bossed around by a man.” I couldn’t have pictured Sam Jackson being bossed around by a white person, but the way the role is written and the way Jackson plays it is so finely-tuned that it was absolutely believable without conflicting with his image. It’s a terrific performance.
Oh, and the KKK scene was hysterical. The fact that it was not crucial to moving the plot forward is irrelevant, because movies are far more than just a delivery device for plot. All those conversations in Pulp Fiction sure as shit didn’t do much for the plot, but they build so much of the full experience.
Several of the white characters in Taxi Driver were intended to be black, but it was suggested by the producers that people would think it was racist for a white character to kill black characters. Never mind that the protagonist of Taxi Driver is a racist character, and suggesting that the black characters be changed to white characters is pretty racist, but whatever. Still his best.
Well worth the price and the time spent watching it.
Sam Jackson is just awesome in everything he’s in.
sam jackson was indeed excellent…his scenes were some of the best and funniest
Im trying to decide if Leo or Waltz were better. Its hard… i really wanna watch it again.
Then every baddie would’ve been female.
Fixed.
DiCaprio did a great job the more I think about it. It takes effort to dandify yourself to such disgusting levels.
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RockB vs the Strong independent women of color who don’t need no man and their oppression.
Directed by QT. I would watch the SHIT out of that.
Apparently the scene where he cuts his hand is real, and that is like DiCaprio’s real blood in that shot where he slams his hand on the table.
Did we talk about this already?
I want to know if the part where he smears his blood on Kerry Washington was real as well, because if so, that is some fucked up shit.
The leaked script said Django would be dressed in a Little Lord Fauntleroy outfit for those scenes so it’s totally planned. QT loves his classic film references the majority of moviegoers wouldn’t get as much as he loves sucking on toes. Death Proof he had Vanishing Point references and Basterds was less about WW2 and more about Leni Riefenstahl and 1920s cinema. I’m not surprised in a movie set in the 1850s QT still managed to find a way to indulge himself.
Even during the writing phase he already knows how each shot is going to be composed. I remember interviews where he says whenever he wants the actors to act a certain way he’ll explain it to them in terms of “I want you to act just like how X actor did it in Y scene in Z movie from 1950.”
Maybe I’ll check it out.
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The interviewer got scared like shit ROFL