Django Unchained Review
Unchained indeed
Full, spoiler-free review by Isaac Handelman
Whereas some directors’ films can be identified due to their thematic similarities, the same cannot be said for the films of Quentin Tarantino. Instead, the iconic director who was brought to fame by his 1995 masterpiece Pulp Fiction, leaves his mark on films not through similarities in subject matter or narrative, but in the absurd amount of graphic violence contained within each of his features. With Django Unchained, Tarantino brings his gleefully twisted style to new heights in what may be his boldest picture since Pulp Fiction. Through the buckets of blood, does Django retain the strange cinematic magic that Tarantino imbues each of his films with? Let’s find out.
Unchained takes place in the American south a few years before the start of the Civil War and centers on Django (Jamie Foxx), a slave who's freed by Dr. Schultz (Christoph Waltz) and contracted to partake in various bounty hunts with his rescuer before ultimately buying his wife from nefarious plantation owner Calvin Candie (Leonardo DiCaprio). The film's first half chronicles the duo's romp across various southern states as they pick off outlaws and collect bounties. Then Candie comes into the picture and the primary goal becomes freeing Django's wife. Both of these main chunks are equally entertaining, the former due to the unlikely partners' amusing predicaments and the general adventurous feel, and the latter for its clever, quick-witted dialogue and the screen-stealing DiCaprio's killer performance. Christoph Wlatz ensures that Leo isn't able to steal the entire show, though; the German actor, who won the Supporting Actor Oscar for his last role in a Tarantino production, gives a fantastic performance as buyer-turned-mentor-turned-friend of Django. Jamie Foxx is serviceable in the title role, but his character is never fleshed out or endeared in the same capacity as Waltz's character is. He's a somewhat generic, silent-but-strong protagonist who's redeemed thanks to his general likability and badass-ery -- it's almost impossible not to root for him.
Django stands at a towering two hours and forty-five minutes, which isn't all too rare for a Tarantino film. The director is usually able to keep his films entertaining throughout, but, after its excellent first and second parts, Django falters during the lead-in to its finale. In fact, the film almost seems to have two finales, and its second feels too much like a simple rehash of the first. By the time the credits role, the film's impact has been severely lessened; it still leaves an impression, but the disappointing final act drags down the proceedings to a degree that's disheartening. The weak finale is a true shame, as leading up to this point, Django manages to maintain a brisk momentum that's especially rare for historical films with heavy subject matter
While the disappointing finale hurts the proceedings to a greater extent than would be expected, there's still plenty to love here. Alongside its aforementioned strong performances, Django retains Tarantino's trademark for making his audience laugh at moments when no decent person would. To say slavery in America is a touchy subject would be an understatement, and Tarantino does a good job of staying true to the mindset of the time period while simultaneously exaggerating certain facets, but the director always avoids directly playing tragedy for laughs. A few scenes could border on offensive, but even these instances reinforce the stupidity of the oppressors, displaying them in a light that's unflattering to say the least.
The film is arguably Tarantino's most violent yet -- perhaps one of the most violent films of all time, at least in terms of the amount of blood spilled. The violence is gratuitous, but it remains stylized and mostly unrealistic throughout, ensuring that it's rarely disgusting though it is sometimes difficult to watch. But that's to be expected, and the utter ridiculousness of the violence helps to alleviate some of the stress that could be brought on by the film' grisly subject matter. That's not to say that the horrors of slavery are glossed over, but it is nice that a Christmas Day release doesn't stick firmly to doom and gloom.
Django Unchained makes a convincing case that Quentin Tarantino not nearly done making movies. Though his knack for extreme violence endures, the director’s imagination and unrivaled ingenuity do too. Tarantino never ceases to take chances and address tough subjects, and he does so in his own bizarre but oddly lovable style. His film’s aren't for everyone, and Django Unchained is not among the finest of his filmography. Its main protagonist isn’t as iconic as many will hope for and it drags on for too long and drags down the film as a whole. And yet, I’d be remiss if I didn’t address the fact that there’s a lot to love about Django, and those willing to look past its missteps will find both a wholly unique historical piece and a well-acted, cleverly-written revenge tale. No matter how you slice it -- and no matter how long it outstays its welcome -- as whole, Django Unchained is a mighty good time.
Full, spoiler-free review by Isaac Handelman
Whereas some directors’ films can be identified due to their thematic similarities, the same cannot be said for the films of Quentin Tarantino. Instead, the iconic director who was brought to fame by his 1995 masterpiece Pulp Fiction, leaves his mark on films not through similarities in subject matter or narrative, but in the absurd amount of graphic violence contained within each of his features. With Django Unchained, Tarantino brings his gleefully twisted style to new heights in what may be his boldest picture since Pulp Fiction. Through the buckets of blood, does Django retain the strange cinematic magic that Tarantino imbues each of his films with? Let’s find out.
Unchained takes place in the American south a few years before the start of the Civil War and centers on Django (Jamie Foxx), a slave who's freed by Dr. Schultz (Christoph Waltz) and contracted to partake in various bounty hunts with his rescuer before ultimately buying his wife from nefarious plantation owner Calvin Candie (Leonardo DiCaprio). The film's first half chronicles the duo's romp across various southern states as they pick off outlaws and collect bounties. Then Candie comes into the picture and the primary goal becomes freeing Django's wife. Both of these main chunks are equally entertaining, the former due to the unlikely partners' amusing predicaments and the general adventurous feel, and the latter for its clever, quick-witted dialogue and the screen-stealing DiCaprio's killer performance. Christoph Wlatz ensures that Leo isn't able to steal the entire show, though; the German actor, who won the Supporting Actor Oscar for his last role in a Tarantino production, gives a fantastic performance as buyer-turned-mentor-turned-friend of Django. Jamie Foxx is serviceable in the title role, but his character is never fleshed out or endeared in the same capacity as Waltz's character is. He's a somewhat generic, silent-but-strong protagonist who's redeemed thanks to his general likability and badass-ery -- it's almost impossible not to root for him.
Django stands at a towering two hours and forty-five minutes, which isn't all too rare for a Tarantino film. The director is usually able to keep his films entertaining throughout, but, after its excellent first and second parts, Django falters during the lead-in to its finale. In fact, the film almost seems to have two finales, and its second feels too much like a simple rehash of the first. By the time the credits role, the film's impact has been severely lessened; it still leaves an impression, but the disappointing final act drags down the proceedings to a degree that's disheartening. The weak finale is a true shame, as leading up to this point, Django manages to maintain a brisk momentum that's especially rare for historical films with heavy subject matter
While the disappointing finale hurts the proceedings to a greater extent than would be expected, there's still plenty to love here. Alongside its aforementioned strong performances, Django retains Tarantino's trademark for making his audience laugh at moments when no decent person would. To say slavery in America is a touchy subject would be an understatement, and Tarantino does a good job of staying true to the mindset of the time period while simultaneously exaggerating certain facets, but the director always avoids directly playing tragedy for laughs. A few scenes could border on offensive, but even these instances reinforce the stupidity of the oppressors, displaying them in a light that's unflattering to say the least.
The film is arguably Tarantino's most violent yet -- perhaps one of the most violent films of all time, at least in terms of the amount of blood spilled. The violence is gratuitous, but it remains stylized and mostly unrealistic throughout, ensuring that it's rarely disgusting though it is sometimes difficult to watch. But that's to be expected, and the utter ridiculousness of the violence helps to alleviate some of the stress that could be brought on by the film' grisly subject matter. That's not to say that the horrors of slavery are glossed over, but it is nice that a Christmas Day release doesn't stick firmly to doom and gloom.
Django Unchained makes a convincing case that Quentin Tarantino not nearly done making movies. Though his knack for extreme violence endures, the director’s imagination and unrivaled ingenuity do too. Tarantino never ceases to take chances and address tough subjects, and he does so in his own bizarre but oddly lovable style. His film’s aren't for everyone, and Django Unchained is not among the finest of his filmography. Its main protagonist isn’t as iconic as many will hope for and it drags on for too long and drags down the film as a whole. And yet, I’d be remiss if I didn’t address the fact that there’s a lot to love about Django, and those willing to look past its missteps will find both a wholly unique historical piece and a well-acted, cleverly-written revenge tale. No matter how you slice it -- and no matter how long it outstays its welcome -- as whole, Django Unchained is a mighty good time.
Final Score:
7.5/10
“Very Good”
*Editor's note: This is my 50th review thus far. Thanks to everyone who's ever read one of my reviews up to this point, and to those who check back for each new entry. I hope to be continuing into the foreseeable future.
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