I don't know WHAT this film was supposed to be

Rating: 1/10 (1 April 2010)

This was by far the worst and sickest Tarantino film I've seen, and I've seen all but one. It's an ungainly mix of cartoony revenge fantasy and sub-Eli Roth torture porn.
The Basterds roam around France without any apparent source of supplies, ammunition, or command of any language other than English. Their actions are hideous, scalping bodies (with vivid sound effects and exposed brains), carving swastikas in foreheads..slowly.., sticking fingers in bullet holes, yet these are the good guys and the torture is played for laughs. Tarantino doesn't know any difference between ordinary (e.g. drafted) German soldiers and Nazis, and thus any amount of carving up is OK as long as it's done by Jews or their redneck leader. I guess he thinks it'd be equally OK if the Germans scalped American bodies and carved stars in their foreheads?
Tarantino is good at dialog and set pieces, but fails to weave them together into a coherent narrative. There are basically two revenge fantasies coming together in the Paris movie premiere, but neither one affects the other. There is zero character establishment or development. We're not told how a penniless Jewish girl came to own a fabulous movie theater a few years later in occupied Paris, or even how she established a false identity. None of the Basterds have separable personalities or life histories (we don't even find out why Aldo has a rope burn on his neck). Compare and contrast with "The Dirty Dozen."
The climactic premiere sequence is so absurd it's not even laughable. Sometime after the Allied invasion (which is never referred to, although we've been told it's June 1944), the entire German high command takes off for a gala film event in Paris, about 300 miles from the front lines (it's not like they had any pressing business). At the theater, Hitler is protected by a grand total of TWO guards. When you can't even be as realistic as a Mel Brooks movie ("To Be or Not To Be"), you're just insulting the audience. I've seen better security at the library.
Hmm, what else?

Why aren't the Basterds surprised when the theater catches on fire? That wasn't part of their plan.

Why did Landa completely lose control and strangle the actress? It's wildly out of character from every other scene. If he's angry she's a traitor, he already has it in mind to become an even bigger traitor himself.

Why does every German they meet speak English?

What was the point of scalping the driver at the end? The war was about to be over, who were they trying to freak out?

Does Tarantino even know what Goebbels looked like?

I could go on, but it's like picking apart the physics of Bugs Bunny. It's a spectacle of Tarantino acting out his man-child, which unfortunately gets taken as a daring alternate history.