Django Unchained

I made a deal with my wife this year, in regards to what movies we would see in the theater.  You see, we've attended a Best Picture marathon at our local movieplex for the past few years, cramming nine movies into two days, and we've always had a few that we were re-watching.  That's fine when you're at home, in the mood for a particular flick.  It's draining when you're in hour 8 of a marathon.  As such, we made a deal to not see anything in theaters that we thought would be nominated for Best Picture at the Academy Awards.  For my wife, that meant putting off a viewing of Argo.  For myself, it meant postponing the gory joy of Quentin Tarantino's latest film.  It was a mature choice, I suppose, but I was so happy to finally scratch my Django itch this past weekend.

The Django Unchained trailer really covers the basics.  Like so many other Tarantino movies --- Kill Bill, especially --- the premise is fairly simple.  A bounty hunter in pre-American Civil War times, Dr. King Schultz (Christoph Waltz), enlists a slave, Django (Jamie Foxx) to help him out on a bounty assignment.  As it turns out, Django is a natural when it comes to killing people.  What a happy coincidence!  Working with Schultz allows Django to earn his freedom, but his ultimate goal is to find his wife.  He doesn't know who owns her, but Schultz agrees to help his new friend find his lost love.  Of course, there are some twists and turns down that road, usually involving racist white people and gore, but that sums things up pretty nicely.

Okay, there are bad black guys, too.  It's a complex film.

It's a good thing that I feel silly summarizing the plot in detail, because I have a lot to say about everything else in Django Unchained.  While I have some concerns about Tarantino's writing and direction, the man has a knack for getting great work from his actors.  I honestly think this is my favorite performance by Jamie Foxx --- of course, if you don't count Ray or Collateral, there's not much competition.  He was understated at times, but was able to rise to whatever level of silliness or violence the script demanded.

Violence and a silly suit --- in the same scene!  Levels!

His character was a little light on depth, though.  That may be because this movie --- which is definitely about Django's journey --- was dominated by Christoph Waltz.  Do you remember those awkward, slightly philosophical monologues that Uma Thurman sometimes delivered in Kill Bill?  Waltz takes that same sort of material and makes it magical.  I don't know if it is his voice or his natural charm, but Waltz is the best thing to happen to Tarantino's movies since Sam Jackson.  I was also impressed by Leonardo DiCaprio's heel turn as the primary villain. 

He doesn't need the hammer here.  With that grin, even flowers would look threatening

I've always liked DiCaprio, but his role selection over the past few years has bored me.  Playing a character with no regard for human life was a nice change of pace, and he was convincingly nasty.  Samuel L. Jackson was also (unsurprisingly) good as DiCaprio's right-hand slave.  Jackson swims through his profanity-laced dialogue, but what makes his performance stand out are the moments that he spends one-on-one with other characters.  Look at his face:

That is not the look of a slave.  That is the look of an evil bastard who loves to manipulate, and that is why this was a standout role for Jackson.  Like most Tarantino movies, the cast is substantially large, but those four are the major players.  Kerry Washington was fine as Django's wife, but her role was reactionary, so it was hard to like much about her.  Don Johnson had a better part, as one of the many racist white people that needed killing, but it's not like he had to do much in his role.  Walton Goggins made a welcome appearance as a henchman.  Goggins is quickly becoming one of my favorite villains, thanks to his work in Justified, but his caveman-brow and so-laid-back-it's-sinister Southern drawl make him a scene-stealer regardless of his medium.  Here, he played tough very well (as expected) and gave a truly fantastic frightened howl (less expected).  I'm not exactly sure why James Remar had a dual role, since his characters were never revealed to be brothers, but it's nice to see him get back to his bad guy roots, instead of all this bland authority figure crap he's been putting out lately.  The rest of the cast was essentially a series of cameos.  The ones that paid off fairly well were Jonah Hill, M.C. Gainey, and Bruce Dern; none of them did anything special, but they played their familiar parts well enough.  The rest were surprisingly brief.  Amber Tamblyn looked out a window, Franco Nero was there to pass on the legend (he was the original Django), and Ato Essandoh died poorly.

And then there is the hillbilly family, which consisted of Tom Savini, Robert Carradine, Zoe Bell, and Ted "Jesus Christ Superstar" Neeley, among others.  I don't know if they had a line between them.  Of course, Quentin Tarantino had to cast himself in a small role.  While his Australian accent was horrible, his character's fate was hilarious, so I'm counting this as one of his better bit roles.

Quentin Tarantino wrote and directed Django Unchained, and it is definitely a Quentin Tarantino movie.  If you don't already like his fast-talking and (occasionally) brutally gory films, Django will not change your mind.  Similarly, if you're already on board with Tarantino, I can't imagine Django disappointing.  In terms of dialogue, there are more than enough actors here that are capable of delivering QT's lines well.  Pairing Waltz and Jackson in the same film --- even though they didn't interact much --- was a lot of fun to watch, because you can tell that their dialogue was written specifically for them.

"What can I say?  I'm his muse."

Tarantino always has a strong vision of what he wants from each scene, and that is true in Django Unchained.  The story was nothing special --- it's a Spaghetti Western with racism --- but the script and the performances made it extremely entertaining.

Since this is a Western and a Quentin Tarantino film, I should probably take a moment to address the level of gore and violence in Django Unchained.   Simply put, it is awesome and abundant. 

...and this is only a small taste of the exploding blood packs in this film

I love the fact that Tarantino is sticking to actual fake blood, instead of adding CGI blood in post-production.  QT is currently the leader in fake blood usage in modern films, and the ridiculous excess of it always makes me smile.  To put it another way: if you don't like gore, this is not the movie for you.

To put it another way, *slowly licks Leo's hand*

The gunfighting is done well, and there are plenty of shootout scenes --- particularly toward the end.  More important than the quantity is the quality.  These scenes are violent, and they occasionally have repercussions (although not really).  I also have to admit that Foxx and Waltz looked pretty damn cool most of the time, which is about 60% of any good Western.

This still alone is better than American Outlaws

There are three problems I have with Django Unchained.  The first is that the movie is too damn long.  Tarantino loves to hear himself talk, so I suppose it is no surprise that he can't seem to cut out much from his films.  That's not a huge problem, but this story could have been twenty or thirty minutes shorter and still been awesome.

He could have cut the scenes where they shopped for drapes, for example

My next issue was how well Tarantino built up a large cast of villains and then dispatched most of them with little more than an afterthought.  The most obvious example of this was the hillbilly family; the cast was noteworthy and Sam Jackson built them up like the damn bogeymen for slaves (which would seem to make them extra-extra-scary), but the payoff never came.  You can make the same argument about almost all of the slavers in this film, but that was the instance that bothered me the most.  The most irritating aspect of this film is convoluted plan to retrieve Django's wife.  The script went to great pains to justify this roundabout attack, but the direct approach ("Hello, can I buy your slave?") seems too reasonable to have been dismissed as something not worth trying.

Are any of those issues critical flaws?  Not for me, although the last one still bothers me, even days after watching it.  Django Unchained does so many things right that its missteps barely matter.  And I haven't even mentioned the amazing soundtrack!  Ennio Morricone.  Western.  'Nuff said.  I went into this with extremely high expectations, and I loved every minute of it.  The violence was ample, the dialogue was funny and clever, and the villains (especially Sam Jackson) had depth.  It's not perfect, but I find the imperfections pleasantly interesting. 

Here's the song from the opening credits, which also happens to have been the song from the original Franco Nero Django:

From Dusk Till Dawn

After a month of horror movies, I have come to the realization that there are not a lot of great vampire movies out there.  The premise is sound, but many vamp flicks just fall short of the mark, whether from budgetary reasons, stylistic choices, or simply bad writing.  I have seen From Dusk Till Dawn before, but it has been a few years since I watched it last.  This movie obviously had a budget, since legendary special effects master Tom Savini wouldn't be seen acting in a film without cool effects.  The writing is handled by Quentin Tarantino, back when his dialogue was ridiculous and overly entertaining.  As for the style, it is directed by Robert Rodriguez, features monstrous vampires, over-the-top action, and has a good part of the story take place at a strip club.  Right off the bat, you know that this isn't going to have the subtle moodiness of Interview With the Vampire.

Not the first, but certainly not the last clue

From Dusk Till Dawn opens with the notorious Gecko brothers, Seth (George Clooney) and Richie (Quentin Tarantino), on the run from Texas Marshals on their way to the border.  Richard broke Seth out of police custody, and the pair had left a trail of corpses in their wake ever since.  This is partly because they are a couple of no-nonsense villains, but also because Richie is a bit of a psychopath and manufactures reasons to kill. 

They look like brothers, right?

Thanks to Richie's habit of murdering people, it has become harder and harder for the pair to maintain a low profile.  They need to sneak across the border, but how can they do it without being caught?  As luck would have it, a disillusioned preacher, Jacob (Harvey Keitel), is taking his kids on a road trip in the aftermath of their mother's death.  Their motor home catches the attention of Seth as it pulls into his motel parking lot, and suddenly, the Geckos are forcing Jacob to drive them into Mexico.

So...where are all the vampires?  Hold on, they're coming.  Once in Mexico, the crew arrives at the place where Seth is supposed to meet his contact; by morning, Seth and Richie will be on their way to their safety zone and Jacob will be free to take his two kids back home.  The meeting place happens to be a strip club named the Titty Twister, which caters to bikers and truckers.  The place is open from dusk until dawn, so it's the perfect spot for a fugitive to spend a few hours unwinding.  Except everyone in the Titty Twister happens to be a vampire.  Oops.  The best laid plans...

This scene makes me laugh every time

For being a ridiculous vampire movie, the acting is surprisingly solid in From Dusk Till Dawn.  This was George Clooney's first starring film role since he became famous in ER, so it's kind of interesting seeing this as his first step toward super-stardom.  And he is very good here; he delivers Tarantino's dialogue naturally and fits the sleaziness of his character quite well.  His role isn't perfect --- he's on the run and wears a leather vest, of all things, to blend in? --- but he is able to be a bad guy and a fairly charismatic character at the same time.

Even if he has douchebag tattoos

Quentin Tarantino isn't anywhere near as likable, but his character isn't supposed to be.  While I dislike QT as an actor, I will admit that his style fits the abrasive nature of his character perfectly.

Side note: I hate Tarantino's face

Harvey Keitel is pretty good as Jacob, but I think he is awfully stiff given the shitty day he is having; at first, I thought the awkwardness was pretty natural for a hostage, but he never unclenches.  Juliette Lewis plays his teenage daughter, and I guess she was fine.  She's a little awkward, and her screams are kind of annoying, but it was a tough role to be likable in.  Ernest Liu plays her brother and manages to be less charismatic than Lewis.  Seriously, what a dull character.  There are a lot of noteworthy actors in the rest of the cast, but most of them have far less screen time as supporting actors.  Cheech Marin played three different characters for no real reason; he was kind of funny as a vampire and later, as a crook, but his first appearance as a border patrol cop was surprisingly bland.  Salma Hayek writhed around as a stripper --- named Satanico Pandemonium --- who doesn't take her top off, dances with a snake, and lets Richie suck on her toes as she pours booze down her leg.  There isn't any substance to her character, and the toe and snake things kind of gross me out, but it's hard to criticize Hayek's portrayal of a lusty babe.

Nope.  No problems here.

Frequent Rodriguez collaborator Danny Trejo makes a brief appearance as a tough guy vampire, which adds a whole new layer of depth to his acting oeuvre.  Fred Williamson also gets to play a bad-ass, which is about the only thing he has ever done in his life.  Tom Savini didn't get much dialogue, which speaks to how little Tarantino trusted him to act, but he kicked a lot of vampire ass, which is plenty good enough for me.  There are also some noteworthy bit parts in the film; Kelly Preston is a news reporter, John Saxon is an interviewed FBI agent, Michael Parks introduces his Texas Marshal character for the first time (he pops up again in Kill Bill and the Grindhouse double feature), and John Hawkes delivers the most vintage Tarantino dialogue in the whole film as a liquor store clerk.  And to think, I was impressed by the cast of Interview With the Vampire!

Since this is a vampire movie, it is important to take a quick look at the creatures.  This time around, they are normal-looking people who transform into hideous monsters.

Danny Trejo, before transforming

Post-transformation, the creatures sometimes resemble their human selves, but not always.  The are super-strong, but their bodies are mushy, so blunt force attacks are effective against them.  They are vulnerable to sunlight, crosses, holy water, and wooden stakes, although you can just opt to punch holes in them, too.  Pretty standard stuff, but you never know what the rules are going to be in a vampire movie.

I really enjoyed the special effects in From Dusk Till Dawn.  They don't really come up much in the first half of the film, but once people start vamping out, there is a ton of very cool makeup and practical effects in every scene.

That also means that there is a good amount of gore in this movie.  Hearts get pulled out, heads get melted, and there is an absolute ton of blood.  Honestly, there isn't much more you can ask for in an action/horror vampire story.

Unfortunately, this isn't just an action/horror vampire story.  In fact, the first half has very little action or horror at all.  It's a crime yarn that makes a left turn and winds up in the unfamiliar territory of the supernatural action/horror sub-genre.  I'm not complaining, mind you; both halves are very entertaining.  However, the shift in tone, pacing, and style makes this feel like two separate films.  I knew that going into this viewing, but the effect was still jarring.  The first half feels like it could have been taken from leftover Reservoir Dogs and Pulp Fiction scraps (I mean that in a good way), except for the fact that the most likable character (Seth) is obviously a complete bastard, instead of the usual cool-guy-that-does-bad-things type Tarantino usually creates.  The second half doesn't play to Tarantino's strengths, as there is very little dialogue, and even less of it is clever.  The action scenes are staged well, though, and Robert Rodriguez is able to keep the film entertaining, even as is shifts its focus.

He kicks ass for the lord

I'm not saying that From Dusk Till Dawn is a bad movie, but it is far from the best work of either Rodriguez or Tarantino.   Objectively, this movie lacks solid pacing and focus.  The writing is uneven, and the acting takes a back seat to the effects in the second half.  It's fun, but a little empty.  Of course, this film was never meant to be a critical darling.  It feels less like a cool story that the filmmakers really wanted to tell and more like a couple of friends having a blast, making the type of movie that would have blown their minds as teenagers.  In that, they are successful.  This is silly, cheeky, gory, and absolutely ridiculous, which makes it very entertaining, warts and all.

True Romance (Director's Cut)

Continuing with my mini-theme of romantic movies that I actually like, in honor of Valentine's Day, I bring you True Romance.  Directed by Tony Scott and one of Quentin Tarantino's first professional screenplays (I can never figure out if this came first, or Reservoir Dogs), True Romance is a blend of crime, action, Tarantino dialogue, and true love.  This film also boasts one of the all-time greatest supporting casts, with some of the most memorable scenes highlighting supporting characters that you will ever see.

Clarence (Christian Slater) works at a comic book store (awesome!) and, for his birthday, has decided to catch a triple feature of Sonny Chiba movies at a local theater (awesomer!).  While watching the movies, a busty blonde named Alabama (Patricia Arquette) comes in and spills her popcorn all over him.  Clarence is very gracious about the whole thing, possibly because of her cleavage, and the two strike up a conversation.  They end up getting some pie after the movie (awesomest!), which eventually leads back to Clarence's place for some sexy sexy time.  Of course, this isn't as perfect as it seems.  It turns out that Alabama is a call girl, hired by Clarence's boss to sleep with him as a birthday present.  Clarence doesn't mind at all, insisting that he had had the night of his life; the two abruptly declare their eternal love for each other and get married in the morning.  Aww.  The rest of the movie has the two getting to know each other and finding out that true romance means compromise.

The "crime" part of the story begins when Clarence chooses to confront Alabama's pimp, Drexl (Gary Oldman).  He doesn't really have a solid reason for this, it's just his inner alpha male (which is personified by an imaginary Elvis that gives him advice) needing to prove itself.  The short version of the story has Clarence killing Drexl and leaving with a suitcase of Alabama's clothes.  When he returns home and tells Alabama that he just killed Drexl, her response is "That's so...romantic!"  I guess Clarence married the right gal.  The suitcase he brought with didn't have his new wife's old clothes, though; it was filled with uncut cocaine.  Not knowing what to do with a suitcase of coke, Clarence and Alabama do the only sensible thing they can think of: they go to California to sell it to move stars.  Unfortunately, the late and unlamented Drexl was selling the drugs for the mob, and they are not as forgiving as you might think.

The first thing you notice about True Romance is the dialogue.  It still sounds fresh and funny today, but it really sticks out against the rest of 1993 Hollywood.  To put it in perspective, the nominees for Best Picture that year were The Fugitive, The Remains of the Day, The Piano, In the Name of the Father and Schindler's List, none of which were particularly renowned for their rapid-fire creative vulgarity.  And while you might recognize some echoes of Tarantino's dialogue from this movie in Pulp Fiction, it's still good stuff.

The script is definitely this film's strongest point, but the astonishing supporting cast is a close second.  This movie has so many recognizable actors in it, and most of them have surprisingly meaty roles.  Dennis Hopper and Christopher Walken share one of my all-time favorite scenes, and it's just the two of them talking.  Brad Pitt is hilarious as a worthless, pot-smoking roommate; he was actually offered the role of Clarence, but it conflicted with his filming schedule for Kalifornia --- he just picked Floyd, who originally had no lines, out of the script and ad-libbed all his stuff.  And Gary Oldman's performance as Drexl is so good that I usually watch it two or three times before continuing with the rest of the movie.  I don't know whose idea it was to make this pasty-white pimp pretend that he was a black man, but it's pretty damn funny; Oldman doesn't let his character become a joke, though, and turns out a frightening performance.

Just those four performances would be enough for most movies, but this film is overflowing with larger-than-life supporting characters.  Chris Penn and Tom Sizemore (before he was a train wreck) did a great job as detectives.  Bronson Pinchot and Saul Rubinek play obnoxious Hollywood types almost to the point of becoming caricatures, but they're still entertaining.  James Gandolfini has a good scene as (what else?) a mob enforcer.  Even the normally talentless Michael Rappaport looked good (because he was playing a talentless actor).  And then there are the bit parts!  Samuel L. Jackson has a brief but entertaining scene where he discusses the universal nature of oral sex, Val Kilmer plays Clarence's imaginary Elvis (whose face is never shown, thanks to some truly awful makeup), and a young Kevin Corrigan has a small non-speaking role, too.  On the whole, this supporting cast is good enough to star in three or four solid movies; all together with a clever script, True Romance is a movie that has no boring scenes, and every minute has an actor you recognize in it.

Of course, all that support would be worthless if the main actors are no good.  And, to be honest, half of them aren't great.  Patricia Arquette, while very white-trash hot in this movie, does not do a good job.  In fact, I would argue that she sounds like she has some sort of mild retardation.  For some reason, her character is given a voice-over at the beginning and end of the movie, too, and they're not great either, even with a good script.  Christian Slater, though, does deliver his lines well, giving Clarence a cocky, roguish attitude that matches the tone of the picture perfectly.

Tony Scott directed this movie, but it was before his work in Enemy of the State, so it doesn't have all the 360-degree, fast-motion establishing shots that his last decade of films have had.  Instead, he plays it pretty simple and lets the script do most of the work.  Nobody's monologue is interrupted by unnecessary camera cuts, there are no fancy split-screens or anything like that.  Aside from some particularly violent fights scenes, Scott doesn't really take the opportunity to show off, and the film is better for it.  I disagree with giving Alabama bookend voice-overs, but that's a small price to pay.  Really, aside from a better soundtrack, I don't see how this movie could be improved by having Tarantino direct it himself.

This is a fast-paced crime movie with lots of overly-clever vulgar dialogue. If that's not your thing, then catch a Katherine Heigl movie instead.  This is the first time (and only time, so far) a Tarantino script had anything resembling an actual romance in it, and while pretty unconventional, it works.  There is no point in the movie where I wondered why these two characters were together, and that adds a lot of heart to the mix.  This isn't your typical romantic comedy, but Clarence and Alabama's unquestioning, immediate, and confident love for each other is unusually refreshing.  It's simple and untroubled, and that's perfectly fine in a movie like this.  Even with Arquette's mentally challenged performance, True Romance remains one of my favorite films of the 1990s, and one of the few that deserve ten stars.