'You know something, Utivich? I think this just might be my masterpiece.' –Lt. Aldo Raine.

Rating: 9/10 (1 February 2011)

With this closing line of his stylised war epic, borderline-insane film mogul Quentin Tarantino offers an all-too-obvious example of breaking the fourth wall via his character's words. Brad Pitt was referring to his skill as a 'human sculptor' of sorts, but as he looks directly into the lens of the camera, we're left with no doubt that no-one is as impressed with the final product as QT himself. His masterpiece? Not quite, but there's no shame in coming second to Pulp Fiction.
Inglourious Basterds follows the exploits of two individuals bent on ending the Second World War. Aldo Raine leads a group of Jewish-American soldiers known as The Basterds, who roam the countryside contributing to the war effort in their own unique way. Meanwhile, Jewish woman Shoshanna Dreyfus lives under a new identity as the owner of a French cinema, biding her time in order to get revenge on the Germans for the assassination of her family four years ago.
There are many factors that denote the excellence of this film. Tarantino has always had an eye for casting, and Basterds shows that he hasn't lost a step in this field. Christoph Waltz plays the menacing Hans Landa, nicknamed 'The Jew Hunter' by his peers 'precisely because he has earned it.'
A figure that couldn't be more similar to Heath Ledger's Joker (in terms of motive and characterisation) without being more different (with respect to how he satisfies those motives), Landa is one of the most engaging characters ever created by QT, and is played with the determination and pure evil that secured Waltz an incomprehendable number of Supporting Actor awards.
While the superstar German is complemented by pleasing performances from Pitt, Laurent and Kruger, perhaps the only negative of the film is Eli Roth as The Bear Jew. While I can take him or leave him as a filmmaker, I've always said his place was in the director's chair, not in front of the camera. For such a well-written character with so much presence on-screen, Roth's overacting and general inexperience dampens the intensity of certain scenes, but never to the point where they are no longer engaging.
Best described as a poor film that is ultimately misunderstood, Death Proof allowed many people to raise the claim that Tarantino had lost his way, letting cinematic exploitation become his priority in place of writing the most original screenplays in Hollywood. Those claims are swiftly put to bed courtesy of the dialogue written for Inglourious Basterds. The opening interrogation scene, the game of Celebrity Heads in La Louisine and Shoshanna's impromptu apple strudel meeting with Landa all make for compelling viewing (while composing of little to no English) and showcase QT's undeniable talent with the pen and paper.
This film made for one of the most enjoyable experiences I've had in a cinema, as the indulgent, period-defining cinematography is something best seen on the big screen. But this is to take nothing away from the edge-of-your-seat set pieces, determined character acting and an ending that takes some historical liberties (to make the largest of understatements). As for a rating, Martin Wuttke as Adolf Hitler puts it best: Nein, nein, nein, nein, nein!/10.
*There's nothing I love more than a bit of feedback, good or bad. So drop me a line on jnatsis@iprimus.com.au and let me know what you thought of my review.*