WHAT’S IT ABOUT?
Set in occupied France during the waning days of World War II Inglourious Basterds jumps back and forth between different storylines over the course of several chapters before bringing them together for one intense utterly preposterous climax.
The “Basterds” of the film’s title refers to an elite group of Jewish-American soldiers assembled by Lt. Aldo Raine a no-nonsense descendent of Southern moonshiners whose assignment for his troops is simple: Each of them is tasked with gathering the scalps of 100 dead Nazi soldiers before the war is over. With each shocking act of retribution the Basterds perform word spreads of their savagery and by the time they arrive in occupied France their reputation is known to every enemy soldier.
Meanwhile Shosanna Dreyfus a French Jew who narrowly escaped the Gestapo death squad that murdered her immediate family has relocated to Paris and established a new identity as the owner of a local cinema. As Nazi patrols blanket the city she toils quietly under an assumed name awaiting the day when her own chance at retribution will come.
The destinies of Shosanna and the Basterds converge when Nazi propaganda minister Joseph Goebbels decides to hold the premiere of his latest propaganda film Nation’s Pride at Shosanna’s theater. With the aid of Bridget von Hammersmark a German film star secretly working as a double agent the Allies learn that no less than the entire Nazi High Command including Hitler will be in attendance. Confronted with the opportunity to deliver their unique brand of justice to the Fuhrer himself and end the war in one fell swoop the Basterds concoct a bold scheme to infiltrate the premiere rig the theater with dynamite and incinerate its inhabitants with one massive explosion.
WHO’S IN IT?
Always known for his unconventional approach to casting Inglourious Basterds director Quentin Tarantino assembled a characteristically eclectic group of actors for his latest effort mixing veterans with newcomers Americans with Europeans and superstars with virtual unknowns. Sporting a ridiculous mustache and an even more ridiculous Southern accent Brad Pitt leads the pack in the role of Aldo Raine while horror director Eli Roth (Hostel I and II) makes his acting debut as Raine’s sadistic right-hand man Sgt. Donny Donowitz. Other notable Basterds include B.J. Novak (The Office) Samm Levine (Freaks and Geeks) Paul Rust (I Love You Beth Cooper) and Omar Doom (Grindhouse).
It’s the cast’s European players who really distinguish Inglourious Basterds. German-born National Treasure star Diane Kruger makes the perfect 1940s matinee idol as the turncoat von Hammersmark while Irish-bred Michael Fassbender (Jonah Hex) oozes with old-school English haughtiness as her charming British co-conspirator Lt. Archie Hicox. Making an impressive English-language debut in Basterds as the quietly seething Shosanna is the luminous French star Melanie Laurent.
Rising above all of them with a truly Oscar-worthy performance is Austrian actor Christoph Waltz. Waltz is a revelation (to American audiences at least) as Col. Hans Landa the highly eccentric and brutally efficient leader of Nazi security efforts in France. Alternately hilarious and terrifying Waltz’s Landa is easily the most compelling big-screen villain since Heath Ledger’s Joker in The Dark Knight. Lest we forget Ledger won a posthumous Oscar for his performance. (Waltz for his part already snagged the best-actor prize at Cannes earlier this year.)
Nobody executes dramatic shifts in tone more effectively and powerfully than Tarantino and Inglourious Basterds transitions breathlessly between moments of high tension and high comedy brutal carnage and lighthearted whimsy — all of which are peppered with the director’s distinctive dialogue and trademark wit. The film is easily his best work since 1994's Pulp Fiction.
At over two-and-a-half hours there are moments when the pacing of Inglourious Basterds seriously drags. Tarantino is above all else an actor’s director and there are times that he becomes so enamored with a performance that he’ll allow a scene to extend well beyond the point that its resolution has become a foregone conclusion. How such an obviously ADD-addled guy like Tarantino can exhibit such disdain for brevity is beyond my comprehension.
WHERE ARE THE BASTERDS?
Contrary to the film’s ad campaign the Basterds are actually minor players in the storyline. Only Pitt and Roth are given a substantial amount of dialogue; Novak and the others have only a line or two — if they speak at all.
I won’t give anything away but suffice it to say that Inglourious Basterds’ storyline features a decidedly revisionist take on the events of World War II. Obviously historical accuracy wasn’t a priority for Tarantino — and it probably shouldn’t be for the viewer either.
The big-screen live-action adaptation mostly captures the look and feel of the ‘60s cartoon many of us grew up watching. It could have used a few more occurrences of our favorite line “Look out Speed! AH!” but oh well. As it goes Speed (Emile Hirsch) has grown up with motor oil pumping through his veins helping his Pops (John Goodman) make racecars and idolizing his older brother Rex (Scott Porter) a top-notch driver. Then tragedy strikes when Rex is seemingly killed in an accident. Heartbroken Speed is determined to take his place showing some serious skills on the track. His girlfriend Trixie (Christina Ricci) thinks he’s the bomb as do his mom (Susan Sarandon) younger brother Spritle (Paulie Litt) and pet chimpanzee Chim-Chim. But Speed is soon in for a rude awakening when he is introduced to the corrupt world of auto racing forcing him to team up with the mysterious Racer X (Matthew Fox) to make it right again. Go Speed go! The usually somber Hirsch--who is best known for his indie work in films such as Alpha Dog and Into the Wild--seems at first an odd choice to play Speed. But his seriousness works well against the campiness surrounding him especially in the more emotional moments. Same goes for Fox as the stoic Racer X. Still one can’t help but think of him as his Lost alter ego in a dark glasses and a mask. The rest of the cast just has way too much fun including Ricci as the cute-as-a-button-but-full-of-moxie Trixie Goodman as the blowhard Pops and especially young Litt as Spritle. Out of all Speed’s animated characters re-envisioned Litt does the best job capturing Spritle’s cartoon mischievousness. The monkey ain’t bad either. Chim-Chim AH! Oh those Wachowski brothers (Andy and Larry). They sure do like to come up with as many inventive ways to visually stimulate you as they can don’t they? Their Matrix series set CGI on fire--and now Speed Racer which quite literally takes you inside a video game the Wii or Xbox could only dream of ever creating. The film is virtual eye candy from start to finish--a mixture of Tim Burton-esque colorful sets wild adrenaline-filled special effects and constant camera movements. They may actually need to post a warning for those who suffer from motion sickness. However Speed’s main problem which is the same problem the Matrix franchise suffered from is its tendency to overanalyze the plot. The Wachowskis love to preach turning a scene about the racing world’s corrupt beginning into a 15-minute diatribe. They try to combine the campiness of the animated TV series with serious undertones but it only weighs the film down. You can feel the kids in the audience tapping their feet waiting for more action. So let’s just give the kids what they want: fast-paced excitement wrapped up in a colorful package.
It's graduation day for Scotty (Scott Mechlowicz) but the celebration comes to an abrupt end when his girlfriend Fiona (Kristin Kreuk) dumps him by blatantly announcing she has been unfaithful to him--over and over again. At a graduation party that night Fiona makes her point by jumping on stage during rockers Lustra's performance of "Scotty Doesn't Know " which goes something like this: "Scotty doesn't know that Fiona and me do it in my van every Sunday..." Dumbfounded Scotty gets drunk and goes home to confide in his Berlin-based computer pen pal Mieke (Jessica Boerhs) who suggests coming to America for a "rendezvous." Scott rudely rebuffs him (and that's putting it mildly) not aware that Mieke is not a guy but actually a really hot high school girl. He tries to make amends but Mieke won't read his e-mails so his pal Cooper (Jacob Pitts) convinces him to go to Berlin and meet her face-to-face. Short on cash they take a cheap courier flight to London where they meet up with twin pals Jenny (Michelle Trachtenberg) and Jamie (Travis Wester) before hopscotching to Amsterdam Bratislava Rome Vatican City and finally Berlin. Of course the chase is always better than the kill and Eurotrip is no different: Whether Scotty gets Mieke is beside the point; the amusement is all in the journey there. Who knew for example that you could spend the night in a five star hotel and partake in a night of clubbing in Eastern Europe on $1.87 U.S.-and still have 27 cents left over when it's all over?
Newcomer Mechlowicz is perfectly cast as the lead here playing a character that is simple-minded daring sympathetic and charming. But it's Mechlowicz's personal spin--his bewildered expressions--that really nails the role for him whether he is witnessing the twins accidentally making out on the dance floor in a drunken stupor or waking up to find a strange passenger cozying up to him on a train. As his buddy Cooper Pitts (K-19: The Widowmaker) plays the wisecracker of the bunch and although he doesn't go over the top with the crassness there is a little too much David Spade influence in his delivery (and the similar haircuts don't help the matter either). Like the rest of the cast Wester is careful not to typecast his character Jamie a meticulous planner who can't travel without Frommer's by loosening him up slightly. Jamie for example knows when it's time do drop the book and experiment even if it means nude sunbathing. Trachtenberg (Buffy: The Vampire Slayer) also infuses her twin character Jenny with the perfect blend of sexuality and innocence. The result is a cast of mishmash characters that are just so darn likeable. Look for a surprise cameo from Matt Damon as well as small but hilarious performances from Vinnie Jones as Mad Maynard a Manchester United soccer hooligan; Lucy Lawless as S&M mistress Madame Vandersexxx; and Saturday Night Live's Fred Armisen credited as "the creepy Italian guy."
Jeff Schaffer makes his directorial debut here from a screenplay co-written with his longtime partners scribes Alec Berg and David Mandel. And ads touting it as a comedy "from producers of Road Trip and Old School " may be exactly what Eurotrip a comedy starring relative unknowns needs to draw the coveted teen crowd. After all Ivan Reitman the producer responsible for catapulting low budget comedies into box-office gold territory has secured quite a following--and fans won't be let down with this latest offering. Unlike its predecessors Eurotrip isn't afraid to be crass and while the characters are sweet the storyline is anything but. In this Euro-centric tale writing trio Schaffer Berg and Mandel proudly embrace every stereotype imaginable but do so at the expense of the inexperienced foursome which makes the material funny rather than offensive. Nude beaches the young Americans discover aren't necessarily packed with hot gorgeous women and Amsterdam's sex industry isn't exactly the stuff young male fantasies are made of. With one hilarious gag after another as well as funky map graphics with dotted lines that transport viewers from city to city the film maintains its fast-moving pace throughout. Surprisingly the film was shot entirely on location in the Czech Republic with Prague doubling as London Paris Berlin Amsterdam Rome Vatican City Bratislava--and even Hudson Ohio with landmarks such as the Eiffel Tower the Coliseum and Big Ben added using CGI. Accompanied by an awesome soundtrack featuring Lutsra's "Scotty Doesn't Know " Chapeaumelon's "My Generation" and The Salads "Get Loose " this film succeeds on all levels.
Extreme Ops should be a James Bond movie. Then at least we'd expect the ridiculous plot--plus we'd see some sex. Alas the film takes itself too seriously and those wacky opportunities are simply missed. As it stands a crew of commercial filmmakers--director Ian (Rufus Sewell) producer Jeffrey (Rupert Graves) coordinator Mark (Heino Ferch) and cameraman Will (Devon Sawa)--known for going that extra mile to get extreme action shots are hired to shoot a commercial for a Japanese digital video camera. Their idea is to take three skiers to the Austrian Karawanken Range bordering Yugoslavia and have them outrun an avalanche. No sweat. Up for the task are Chloe (Bridgette Wilson-Sampras) a downhill gold medal winner; wild-child snowboarder Kittie (Jana Pallaske); and all-around adrenaline junkie Silo (Joe Absolom). They make it to Austria and shack up in an unfinished resort nestled in the mountains (you were expecting a warm chalet?) where a band of Serbian terrorists led by war criminal Pavle (Klaus Lowitsch) has also happened to make its base camp. Seems this group of not-so-happy campers has a master plan involving world destruction which the hapless filmmakers uncover. Darn the luck. It's going to take some fancy-schmancy stunts to foil these bad guys--but our motley crew of extremists is up to the task.
This is one of those times you wonder what initially convinced good actors such as Rufus Sewell (A Knight's Tale) and Rupert Graves (The Madness of King George) to make this film. Maybe they thought they could improve it along the way. Or maybe the extreme stunts tempted them to have a little fun in the Austrian Alps. Regardless only Sewell rises above the mire every once in a while; the rest of the cast wallows in it. Newcomers Pallaske and Absolom have very limited range and do better when they simply stand around getting snow in their hair while Sawa (Slackers) seems sorely out of place. Wilson-Sampras has some potential as an actress (her performance breaking up with Matthew McConaughey on their wedding day in The Wedding Planner comes to mind) but an awful script and a bunch of second-rate actors bring her down. The only exceptions are her scenes with Sewell. As for the villains it seems Hollywood has a new bad guy of choice. It used to be the Russians but these Serbs are mighty vicious and suitably over the top. It's their job to make the heroes look good and they do it adequately.
Putting aside a weak plot and bad acting the point to this movie would be the opportunity to see some amazing stunts right? Crazy snowboarders outrunning avalanches attack dogs and evil terrorists all while leaping off snow-capped cliffs and outmaneuvering other perilous terrain. This can make a movie worthwhile if done correctly but sadly that is not the case with Extreme Ops. Director Christian Duguay (The Art of War) manages to mess up even this simple task. The first few shots of the skiers shooting down the hill with the snow tumbling after them are pretty spectacular yet after about the eighth time you see this same shot it starts to get a little boring. On top of that there are some extraordinarily bad blue-screen moments when it's clear the actors are standing in front of a fake background. In this CGI age audiences have high expectations and are very unforgiving of shoddy filmmaking. The worst of the movie's offenses however happens in the editing room. With all the good guys bad guys skiing helicopters and running through snow you're never quite sure who's who or what's what.