Tag Archives: Diane Kruger

Inglourious Basterds-2009

Inglourious Basterds-2009

Director Quentin Tarantino

Starring Brad Pitt, Christoph Waltz

Top 250 Films #92

Scott’s Review #589

Reviewed January 7, 2017

Grade: A

Inglorious Basterds (2009) is simply a great movie. Blending many film genres, it is hard to categorize, but that is because it is a Quentin Tarantino film, and that says it all.

The film as a whole contains excellent acting, is wonderfully shot, and is extremely detail-oriented, plus it has the familiar “Tarantino” style of music and sound, the chapter breakdown, and the heavy violence.

Set mainly in German-occupied France during the early 1940s, during World War II, the action centers around two stories- Shosanna (Melanie Laurent), a teenage girl whose entire family is killed after being discovered hidden by a dairy farmer.

He is a Jewish sympathizer, and Shosanna barely escapes with her life when an SS Colonel, brilliantly played by Christoph Waltz, interrogates the man.

Three years later, now living in Paris and owning a cinema, she plots her revenge. The other story is also of a revenge plot by a group of Jewish-American soldiers to kill as many Nazis as possible.

Both stories eventually intersect with a grand finale inside a cinema.

The story itself is richly nuanced and unlike many generic films of today. The fantastic set design and the perfection of every last set-piece are amazing. Long scenes play out slowly but bristle with authenticity and good dialogue.

Take the first scene for example- as the SS Colonel, aptly nicknamed the “Jew Hunter” plays cat and mouse with the dairy farmer, politely asking for two glasses of milk, the audience knows the payoff will be huge, but the conversation crackles with good dialogue.

What strikes me most about the film is the intelligent writing. The many scenes of conversations between characters- a chat over strudel and cream, a trivia game at a bar, and the aforementioned scene at the farmhouse, bristle with unique, clever written dialogue so that the scenes are far from mere filler.

Of course, this is also a characteristic of Tarantino.

At over two and a half hours Inglourious Basterds (2009) is long but satisfying.

My only criticism is of Brad Pitt. I didn’t buy him as a Tarantino guy and found his character the only weak point of the film. His southern drawl just did not draw me in like I thought it might.

He was touted as the main character (perhaps because he was the biggest star), but he plays a supporting role.

Oscar Nominations: 1 win-Best Picture, Best Director-Quentin Tarantino, Best Supporting Actor-Christoph Waltz (won), Best Original Screenplay, Best Sound Editing, Best Sound Mixing, Best Cinematography, Best Film Editing

Welcome to Marwen-2018

Welcome to Marwen-2018

Director Robert Zemeckis

Starring Steve Carell, Leslie Mann

Scott’s Review #892

Reviewed May 1, 2019

Grade: B

Welcome to Marwen (2018) is a feature film that flew under the radar at the time of release, suffering from mostly poor, if not scathing, reviews.

Having debuted in the last quarter of the year, the anticipation was assuredly for Oscar love, but this was not to be, as the film was a box office and critical disappointment.

Despite a marvelous and sympathetic portrayal by Steve Carell and bold creativity in the animation, the film lags and misfires in the storytelling, never completely coming together despite a heartfelt effort.

Based on a powerful true story chronicled much better in documentary form, the film follows Mark Hogancamp (Carell), a man struggling with post-traumatic stress syndrome after being physically assaulted.

He creates a fictional village to deal with his violent trauma as a form of escapism. Mark teeters between fantasy and reality as his various action figures mirror both himself and other people in his life, from the benevolent – his pretty new next-door neighbor, Nicol (Leslie Mann) – to the malicious – his attackers.

Director Zemeckis is no stranger to cool and innovative visual effects. Having created films like Back to the Future (1985), Death Becomes Her (1992), and Forrest Gump (1994), his track record is proven.

Though far from a masterpiece, Welcome to Marwen’s most outstanding achievement is its look, with stunning and realistic figurines coming to life with splendid effect.

The modified fashion dolls are morphed into action heroes, livening up the film and making it a spectacle compared to the morose everyday life that Mark lives in.

As Mark frequently escapes into his soothing, self-created fantasy world, named Marwen, the mostly female characters are strong, resilient, and protective of him. He even embarks on a fantasy romance with Nicol and faces both sweet moments with her as well as a peril from Nazis.

The negative to the fantasy sequences is in the climax, as Zemeckis teeters too broadly towards a full-fledged action film with over-the-top segments and an overly lengthy battle scene.

The real-life scenes don’t work as well, as Mark’s small-town residence is gloomy and depressing, offering little interest. Presumed to be two hours outside of New York City, the reason Nicol moves to the town is never explained, and her true intentions remain mysterious.

The presence of her aggressive ex-boyfriend seems forced, and Mark’s romantic interest in her becomes awkward. The main drawback is a lack of romantic chemistry between Carell and Mann, which results in little reason to root for the pair to be together.

The film contains an admirable progressive slant as Mark, while straight in his sexuality, is enamored with women’s shoes and collects hundreds of sensible and erotic pairs.

The key to his attack as briefly shown via flashback is his boasting to redneck types while inebriated, his love of the shoes. This plot point is essential to the film, yet not fleshed out well. What do we know about his attackers? Did they assume Mark was gay, prompting the attack?

Since the attack is deemed a hate crime, we can only assume the answer is yes, but I had hoped for a bit more depth and more about Mark’s backstory.

Based on the 2010 documentary Marwencol, Welcome to Marwen (2018) is a production that asks the viewer to revel in a wonderful fantasy world and marvel at the resulting creativity, escaping into a life-like adventure zone.

The story remains uneven with a bandied-about romance that never comes together, uneven storytelling, and a mediocre conclusion. While I admire Welcome to Marwen’s intentions, the film ultimately falls short of delivering.