Inglourious Basterds [4K Ultra-HD] [2009] [Blu-ray] [Region Free]

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All right folks, this is a day a lot of us have been waiting a very long time for. Let’s get right into what is arguably the year’s biggest news... Inglourious Basterds, a World War II-set revenge fantasy about the secret and sometimes not-so-secret maneuverings of a group of gung-ho Jewish-American Nazi hunters known as the Basterds, is no less meticulously engineered than Tarantino’s other pulp fictions. Except this one is more linear and humane than most, lush with dialogue that rings weighty even at its smuggest, and featuring women that actually sound and feel like real women—not just men (or, more accurately, Tarantino) in drag. The film sees Tarantino moving beyond just flaunting his attention-mongering cine-geekitude, as he actually seems to be scrutinizing his obsession with the cinema by cleverly placing it into an apt historical context. War movies allow us to re-experience stylized combat over and over, re-interpreting it for new generations. Vintage war stories avoided ethnic complications via the convention of the ‘melting pot platoon,’ which always contained a cowboy, a Jew, an Italian-American, etc.. Inglourious ignores all that and instead gets right down to the basic issue of Jewish revenge. The Basterds’ comrade-in-arms, whom they’ll never meet, is Shoshanna Dreyfus (Mélanie Laurent), the only surviving member of her family after one of Hans Landa’s murder raids.But the plot is one thing. His directing is the next part of his genius. Although the film lasts more than 2.5 hours, time flies by instantly. And not because the action is dynamic. On the contrary, there are many scenes that are long and viscous, which we watch with bated breath - these are long interrogations between heroes and villains, in particular, behind an apple strudel, as well as a tense scene of a game in a pub, where sometimes you are afraid to move once more ... And staying true to himself and his style of shooting - Tarantino includes a lot of spectacular brawls, fights, stabbing, shootings and with a huge amount of blood! And you must admit that not in every film this technique will work, but in Tarantino's cinema - it works flawlessly every time! Roundtable Discussion with Quentin Tarantino, Brad Pitt and Elvis Mitchell– Elvis Mitchell interviews Brad Pitt and Quentin Tarantino about the film as they share some on the set anecdotes, the script and the subject matter. Running at 30 minutes, it’s a nice segment to have. Freddie Zoller’s real historical counterpart is Audie Murphy, our Medal of Honor recipient credited with 240 German kills. Several years later Murphy became a popular movie star and a recruitment Godsend for the U.S. armed forces. Produced as propaganda during wars and as nostalgic distortions between them, war movies are an irreplaceable PR factor for the hero-making industry that keeps war recruits coming. Extended & Alternate Scenes– These are mostly extended versions of scenes in the film. They run 12 minutes and really didn’t add much to the movie, but at 153 minutes why not keep them in? It’s not like another dozen minutes would have killed anyone. So, what are my overall thoughts about this release? I want to explain how I feel, and what I think should be done about this release.

I think Universal Pictures has gotten so many things wrong with this title. Who is this release for? This release isn't for me, that's obvious. I'm probably in the one percentile. I want 4K scans of all my movies. I want 98.5 Mbps average bit-rate (That's Maxed Out!). I want 100 GB discs on every 4K release. I want no edge, nothing that makes the image look overly digital. I want perfection. Is this release for me? No, Is this the best version of the movie to watch? Yes, I think it's the best version of the movie to own, but it's a mix and match. If I was a studio, and I had to choose whether this title should be released on 4K, the answer would have been no. I don't think it was in any state to be released on 4K, but Universal did it anyway. The Making of Nation’s Pride– Another 4 minutes are dedicated to the making of this film with several interviews done in character.Nation’s Pride – Original Short– The 6 minute “film within a film” was directed by star Eli Roth and is presented here in its entirety. The tenor of historical, trauma-driven catharsis generating all of Inglourious Basterds' moves is primal. The Nazis are pure evil, and their plans to exterminate Jewish people are pure evil. Tarantino knows how good it would feel to see Nazis get a bravado-fueled, rewritten comeuppance that makes our act of revenge a more active choice (and, dovetailing with his love suspense, he knows it will feel better if we have to wait for it). Hellstrom’s entrance was perhaps inspired by the SS menace played by Derren Nesbitt in 1968’s Where Eagles Dare, another key escapist war fantasy involving an absurd commando mission. The scene that Nesbitt interrupts, with spies Richard Burton and Clint Eastwood, is a fine set piece of the kind that Quentin Tarantino specializes in. It used to get applause in theaters, if only because the audience for Where Eagles Dare didn’t expect anything so sophisticated. On one side of the coin, you’re getting this pitch-perfect potboiler thriller, and then on the other, you’re getting this goofy bloody splatter 70s exploitation-style action movie. I just didn’t gel with it. But, as I do with so many movies I don’t often like the first time out, I gave it another shot. And another. And then another. Slowly I was turning into a fan and appreciating the tonal whiplash with each viewing. Supplements: Extended & Alternate Scenes, Roundtable Discussion with Quentin Tarantino, Brad Pitt And Elvis Mitchell, The New York Times Talks, Nation’s Pride– Full Feature, The Making of Nation’s Pride, A Conversation with Rod Taylor, Rod Taylor On Victoria Bitter, The Original Inglorious Bastards, Quentin Tarantino’s Camera Angel, “Hi Sallys,” Film Poster Gallery Tour with Elvis Mitchell, Inglourious Basterds Poster Gallery, Trailers, “Killin’ Nazis Trivia Challenge.”

This is a presentation that looks wholesale better than ever before, but does so in a very nuanced, considered way Tarantino's first voyage into rewriting history is a glorious war romp replete with a slew of memorably tense confrontations, perfectly framed shots, bursts of savage violence and funky scoring. Inglourious Basterds remains one of my favorite Tarantino films, although I still squint at the scalping scenes. I’ve read plenty of criticism typing it as pointless, aggravating and in terrible taste (gasp, not that). But I think I may have understood a few of the games that the director was playing with the subject of ‘escapist’ war movies. Mr. Q.T.’s immediate pre-pandemic hit Once Upon at Time in Hollywood has the same wish-fulfillment modus operandi: transcend a particular subgenre by leapfrogging to what audiences really want to see happen on screen. In fact, why don’t we just call this ‘Once Upon a Time in World War II?’Inglourious Basterds, written and directed by Tarantino, follows a few different storylines as they lead up to the grand and bloody finale in a French movie theater. On one hand we have Lt. Aldo Raine, hilariously played by Brad Pitt, and his small army of Jewish-American soldiers as they kill Nazis across eastern Europe, one scalp at a time. At other times we follow a young Jewish woman, Shoshanna, as she escapes the brutal murdering of her family and hides under the identity of a French theater owner. Unfortunately, not a lot of technical information was included in the press release. So we don't know if this is getting a Dolby Vision pass, or an Atmos upgrade or anything of the like. We've reached out for clarification so as soon as we know we'll pass that info along. Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge.

it's not surprising that Tarantino would once again find an imaginative way to use language as a weapon For another, the very expectation that this film would be rescanned and remastered in pure 4K is ignorant to the the process of 2000s film production and the massive effort it would require to complete such a remaster. While Basterds was shot on 35mm, it was scanned and finished at a 2K digital intermediate, as most 2000s movies were and as all of Tarantino's movies from Kill Bill until The Hateful Eight were. For a full 4K remaster to occur, the original 35mm negative would have to be sourced and scanned at 4K, and then re-edited into the very structure of the film itself as again, it was originally finished not on film but as a digital intermediate. Additionally, while not a CGI heavy film Basterds did have significant VFX work done for things like removing wires and cleaning the image. All of this work would have to be entirely reconstructed and reapplied if this remaster were to take place. In Nazi-occupied France, a group of Jewish-American soldiers are on a mission to take down the leaders of the Third Reich. Everything is an allusion, a pose, in the films of Quentin Tarantino, right down to the font and colors that he uses for his title sequences—even the name of his production company, A Band Apart, which arrogantly asks us to think of him as our generation’s Godard. And how willingly we indulge him says plenty. Tarantino is as much creator as curator, and his overbearing cinephilia appeals to audiences who not only lost it at the movies but can’t seem to live without them: From Reservoir Dogs to his Kill Bill diptych, his films are solipsistic totems to his favorite things, and their effect is often suffocating. To be honest and straight at the outset, I actually really didn’t like Inglourious Basterds the first time I saw it. I just didn’t know what to expect I guess. I loved the opening introduction scene of Hans Landa interrogating a simple local farmer over the location of some missing Jews and the setup for Mélanie Laurent’s Shosanna. Then I loved the introduction of Aldo Raine and The Basterds. But as the film progressed, I just wasn’t feeling how these very different story elements intertwined.Anyone who loves Quentin Tarantino's films will undoubtedly be captured by the plot. Because according to the plots Tarantino is a recognized master. Once again, you are convinced how well everything is thought out, worked out and interconnected. And also - bright, spectacular and exciting. The use of foreign languages ​​is also interesting - when viewed in the original, you can hear speech in almost all languages ​​of Europe. Here for the first time a director uses the genre of alternative history - I was completely unprepared for it, but he made a powerful impression! Films are an experience. And because you might not experience a film the same way twice, I try to do my best to give the less-than-favorites I encounter another shot. Some rise in my esteem, others fall farther. Quentin Tarantino’s Inglourious Basterds is one of those films that got better with each viewing. Not enough to call it my favorite of his catalog, but enough to say I really enjoy it now and look forward to revisiting it. Can 2KDI's look as good as 4KDI's? Does it really make a difference? This question will stir up many opinions and feelings about the whole thing, I understand. I'll let you know right now, I like native content. If it's 4K, then I want native 4K material. If it's Blu-ray, I want 4K material downscaled to native 2K. In a similar vein, I like CDs at 16 bit / 44.1, and I don't think music that has been upscaled to 24 bit / 96 offers anything of value. The source is the most important thing in both video and audio. Both can sound and look good if the source is good. Anyway, that's enough of this. How does Inglourious Basterds on 4K?