Swatting at Nazis.

A weekend chock-full of movies on this end, beginning with a Friday night outing to Quentin Tarantino’s striking, rambling Inglourious Basterds. I’ve been down on pretty much everything QT has done over the past decade — Kill Bill, Vol. 1, Kill Bill, Vol. 2, Death Proof — but Basterds at last feels like a movie by the writer-director who gave us Reservoir Dogs, Pulp Fiction, and the underappreciated Jackie Brown. To be honest, it’s hard to say whether Tarantino has finally reversed his decade-long slide into his own solipsistic, homage-heavy universe (which is the three-dollar way of describing his recent tendency to disappear up his own ass), or — more likely — that QT’s riffing on European film as much as 70’s exploitation flicks here makes this movie feel broader than the last few forays. Nevertheless, for whatever reason, Basterds works, and it is a welcome return-to-form.

Perhaps part of the reason I enjoyed the film was that I went in with egregiously low expectations. Particularly with Hostel director Eli Roth skulking about the premises — he’s Donny Donowitz, a.k.a. the “Bear Jew,” a Boston-born basterd who likes to go yahd on Nazi skulls with his Louisville Slugger — I went in thinking that this movie would basically be two and a half hours of grisly torture porn — or , in other words, the ear scene from Reservoir Dogs over and over again, made “ok” because the victims are Nazis. But Inglourious Basterds is both broader and more subtle than that. Yes, there’s some of that going on — particularly in Chapter 2 — but it’s handled much more expertly than I feared. (Nor are the victims in question just cartoon Nazis out of Raiders of the Lost Ark, but multi-dimensional individuals in a huge spot of trouble.)

And, in any case, the Basterds are really a small part of the film as a whole. Borrowing liberally from The Good, The Bad, and The Ugly at the start, the movie begins in 1941 France with the interrogation of a French farmer (Denis Menochet) who may or may not be harboring his Jewish neighbors. His interlocutor is the courtly SS Colonel Hans Landa (Christophe Waltz, a bit over-the-top but probably a shoo-in for a Supporting Actor nod) who, in a wide-ranging conversation about milk, hawks, pipes, and paperwork, methodically picks apart the poor dairy farmer like a boy pinning down a butterfly. Then, we meet the Basterds, the elite unit of Jewish soldiers — led by “Aldo the Apache” Raine (Brad Pitt, also playing it broad) — who are kicking ass and taking manes all across Europe. Their dastardly exploits have even caught the attention of the German High Command — including the Fuhrer himself (Martin Wuttke), who wants them dead, like, yesterday. (Speaking of which, the early scenes in the FHQ, with Hitler throwing a tantrum over the Basterds, felt a lot like how I’d imagine a WWII-era Captain America film might pan out.)

Minister of Propaganda Joseph Goebbels (Sylvester Groth), meanwhile, is more interested in getting his newest propaganda film — A Nation’s Pride, about the Sgt. York-like heroics of one German sniper (Daniel Bruhl) — the grand opening it deserves in Nazi-occupied Paris. To that end, and on the advice of said sniper (who’s a bit smitten with the proprietor), he looks to book the premiere at a theater run by a melancholy French beauty named Emmanuelle Mimieux (Melanie Laurent). But Emmanuelle, it turns out, is in fact named Shoshanna — we met her earlier in the film — and she more than most has a score to settle with these godawful Nazis. And, like Herr Goebbels, she knows a thing or two about using the cinema to make a dramatic statement…

I haven’t even mentioned the German actress/double-agent Bridget von Hammersmark (Diane Kruger), or the dashing British film critic-turned-lieutenant, Archie Hicox (Michael Fassbender), or Hugo Stiglitz (Til Schweiger), the expert Nazi-killer sprung by the Basterds for bad behavior, or military mastermind Gen. Ed Fenech (Mike Myers, distracting but getting to live out his Peter Sellers dream some more), the man with a plan to knock out the German High Command in one fell swoop. Yes, this film is a truly baroque creation. It’s more a collection of loosely-related setpieces, to be honest, and some work better than others (A vignette involving a rendezvous-gone-south in a basement pub is a masterpiece of slowly-ratcheting suspense; the scene where Shoshanna is forced to eat dinner with a gaggle of Nazis feels ten minutes too long.)

Although most of the speaking here is conducted in French, German, or really-bad Italian (it’s all lovely to listen to, by the way — the musicality of QT’s dialogue definitely carries over into other languages), this is a Tarantino movie through and through. We have the long, meandering conversations punctuated by staccato bursts of violence. (See also: Any other Tarantino film.) We have the throwback homage-ridden score (Mostly Morricone, but David Bowie’s “Cat People” shows up in a truly odd spot.) We have the random digressions on “Pop Culture According to QT.” (There’s an extended riff on King Kong here that momentarily took me out of the film.) We have an obvious lapse into foot fetishism (the Cinderella scene, which, imho, doesn’t make much sense given what happens later.) There are, of course, several Mexican standoffs. It’s all very Tarantino, alright.

And we have the powerful ending, which I won’t give away in detail here. [Warning: This rest of this review is spoilerish.] As several characters say in Chapter 5, “the shoe’s on the other foot now.” And it is — After the tension-wracked first chapter, Basterds completely inverts the usual Cat-and-Maus relationship inherent to almost all movies of this genre. The political economy of IB is hardly what you’d call Zen, and if “turn the other cheek” is your moral touchstone, then the ending is deplorable in many ways. (Even Tarantino seems to think so, given that we the audience have basically the same reaction to Basterds as the Nazis do to A Nation’s Pride.) That being said, it’s a weirdly and undeniably intoxicating thing to see the Jewish Basterds being the guys holding the guns for once, and to witness their disembodied, cackling Avenging Angel exult in a vengeance long denied.

After all its Eurocinema-meets-The Dirty Dozen twists-and-turns, Inglourious Basterds ends up being a sort of a Leni Riefenstahl film for the Jews. And, well, propaganda it may be, but you don’t have to be a Tarantino-level foot fetishist to find it at least somewhat refreshing, even exhilarating, to see that boot on the other heel for once.

Secrets and Lies.

In the July 4th weekend trailer bin:

  • Four couples (Vince Vaughn/Malin Ackerman, Jon Favreau/Kristin Davis, Jason Bateman/Kristen Bell, Faison Love/Kali Hawk) work out their issues in paradise in the preview for Peter Billingsley’s Couples Retreat, also with Jean Reno and Ken Jeong. (And, yes, that Peter Billingsley. Anyway, not my cup of tea, really — it looks like a paid vacation for the folks involved.)

  • Quentin Tarantino unleashes another look at what appears to be talky WWII torture porn in the international trailer for Inglorious Basterds, with Brad Pitt, Diane Kruger, Eli Roth, Melanie Laurent, Christoph Waltz, Michael Fassbender, and Mike Myers with a variable accent. (This honestly looks worse with each trailer. Get it together, QT.)

  • And, most promisingly of the bunch, Matt Damon and a goofy moustache scour up the inside secrets of ADM in our first look at Stephen Soderbergh’s The Informant!, also with Scott Bakula, Tony Hale, Clancy Brown, Joel McHale, and Melanie Lynskey.

  • Basterds and Huns.

    Look alive, privates: The teaser for Quentin Tarantino’s forthcoming WWII epic, Inglourious Basterds, is now online, starring (among others) Brad Pitt with a ‘stache and nasty neck scar, Eli Roth, Diane Kruger, Melanie Laurent, Christoph Waltz, Daniel Bruhl, B. J. Novak, Michael Fassbender, Maggie Cheung, Julie Dreyfus, Mike Myers, and Rod Taylor

    Hmm. So far, I’m not feeling it. Even notwithstanding the aggravatingly misspelled title, both this and the overly-jubilant AICN set review make Basterds sound like WWII torture porn, or at best another installment of Tarantino wallowing in his grindhouse and Z-movie fetishes for two hours. (See also KB1, KB2, Death Proof.) I hope I’m wrong, and that this is a return to the form of the Reservoir Dogs-to-Jackie Brown years. But, as a AICN talkbacker aptly noted, it’s looking more and more as if QT has gone the self-indulgent, self-derivative way of Brian DePalma.

    Muckraking at the Movies.

    Some recent trailers of a political bent: Sen. Tom Cruise urges stay the course, journalist Meryl Streep harbors doubts, and guidance counselor Robert Redford soapboxes like it’s going out of style in the full trailer for Redford’s Lions for Lambs, also with Peter Berg, Derek Luke, and Michael Pena. Or, if you take your Meryl dark, Reese Witherspoon’s Arabic husband falls awry in the CIA secret prison system (or does he?) in the more compelling trailer for Rendition, also with Streep, Jake Gyllenhaal, Peter Sarsgaard, Alan Arkin, J.K. Simmons, and Omar Metwally. Elsewhere, an Afghani emigre (Khalid Abdalla) ventures home, into the realm of the Taliban, to honor the last wish of a childhood friend in Marc Forster’s version of Khaled Hosseini’s The Kite Runner. And, for more historically-minded muckraking, Ed Harris, Helen Mirren, Harvey Keitel, and Bruce Greenwood join alums Nicolas Cage, Diane Kruger, Jon Voight, and Justin Bartha in unlocking the hidden mysteries of the presidency in the trailer for National Treasure 2: Book of Secrets. (A totally cheesy b-movie, to be sure, but I enjoyed the first one more than the ponderous Da Vinci Code.)

    Captain Kinsey and the Phantom’s Treasure.

    Several new trailers have emerged since the last update around here: Along with a new look at Sky Captain and the World of Tomorrow (looks bluescreen-ish, to be sure), Liam Neeson channels Alfred Kinsey, Joel “I tanked the Batman franchise” Schumacher goes after Phantom of the Opera, and Nicolas Cage, Sean Bean, and Helen of Troy undertake a search for political booty in National Treasure. Of these new three, I might pay money to see Kinsey.

    Freaks and Greeks.

    Well, with Wolfgang Petersen, Tyler Durden, Eric Bana, Brian Cox, Brendan Gleeson, and Sean Bean, among others, I had high hopes beforehand that Troy would be the gem of this summer movie season, a film that built on LotR‘s recent success in using solid ensemble acting and state-of-the-art technology to bring classic works of epic literature to the screen as never before. Alas, those hopes have been dashed on the plains of battle like so many CGI Greeks. To be fair, though, Troy may not be one for the ages — in fact, it’s probably only a very small step above the Gladiator movies frequented by Captain Peter Graves in Airplane! — but I’d say it’s still a reasonably entertaining two and a half hours, as summer movies go, and a far cry better than last week’s monstrous Van Helsing, once you lower your expectations suitably.

    I only knew the Edith Hamilton cliffnotes-version of the The Iliad coming into Troy (I know, I know, it’s on my summer reading list), so the many changes to the story, such as the fates of Menelaus and Agamemnon, the removal of the Gods, or the addition of the equestrian ending, honestly didn’t weigh on me all that much. Still, I knew enough to find myself waiting for the next shoe to drop through almost every scene of this almost three-hour movie, which I’d say reflects pretty badly on the film here. It’s well-made, to be sure, and it’s got great production values, although even I’m starting to sour on ridiculously-large-CGI-army fighting at this point (I think you hear me knocking, King Arthur.) One would think that a movie based on The Iliad should be at least somewhat enthralling, but I found myself detached and slightly distracted during much of the film. More than anything else, give or take the occasional monologue or well-executed mano a mano, Troy just felt long.

    Is it the actors’ fault? No, I don’t think so…more the wooden dialogue. Still, the acting is hit or miss. Brad Pitt tries hard here, but frankly he could make 100 more movies and he’d still always remind me of Tyler Durden now. Similarly, it’s hard not to think of Legolas when Orlando Bloom, mostly convincing as pretty-boy Paris, starts showing off the archery skills again. As Agamemnon, Brian Cox is more hammy and over the top here than he was in The Ring and X2 combined – it’s like he’s channeling Anthony Hopkins in Bram Stoker’s Dracula. On the opposing side, Peter O’Toole adds a touch of class as King Priam of Troy, although with his goofy mane, gaunt cheekbones, and still-piercing blue eyes, I spent most of the movie remarking to myself his now-eerie resemblance to Berkeley. And Brendan Gleeson and Sean Bean, Menelaus and Odysseus respectively, don’t have all that much to do (pending the sequel, of course.) As it turns out, the standout performance turns out to be Eric Bana, who, despite having an Aussie accent quite unlike that of his brother Paris, shows much more personality and verve here than he did in The Hulk or Black Hawk Down. (Hector’s still no Chopper, though.)

    In sum, Troy is a decent summer movie, I guess…probably more worth seeing than any other studio flick this side of Eternal Sunshine. But, given the quality of the source material and the money being spent here, it really had the potential to be a good deal more than just an intermittently engaging sword-and-sandal flick. That it’s not feels like a letdown, no matter how Troy works as two hours of escapism. So, as Homer himself might’ve put it, “D’oh!”

    Chasing Helen.

    Online today is the new trailer for Troy, and it’s quite something. I generally like Brad Pitt, but right now he’s looking (well, sounding) like the only potential problem here. Still, each and every scene with Brendan Gleeson and Brian Cox should be scenery-chewing fun. And where’s Sean “Odysseus” Bean?

    Greeks and Geeks.

    As it turns out, one of the highlights of the Matrix experience was this very impressive teaser for Troy, starring Brad Pitt (Achilles), Eric Bana (Hector), Orlando Bloom (Paris), Diane Kruger (Helen), Sean Bean (Odysseus), Brendan Gleeson (Menelaus), Peter O’Toole (Priam),and Brian Cox (Agamemnon), among others. Also in coming attraction news, some official pics of HP and the Prisoner of Azkhaban make it online, including shots of Gary Oldman as Sirius Black and Michael Gambon as the new Dumbledore. Apparently the trailer of Azkhaban arrives in a week.