Django Unchained REVIEW


Written by Guillermo Troncoso.

Django Unchained movie still

The mere mention of his name is enough to conjure up images of suited up men walking in slo-mo, John Travolta and Uma Thurman dancing in a bar, Samuel L. Jackson getting Chris Tucker into the boot of a car, a pissed off bride out for revenge, Stuntman Mike getting his lap dance and a certain Col. Hans Landa justifying Nazism. Love him or hate him, Quentin Tarantino has carved his mark onto the history of cinema for good. His latest film not only furthers his reputation as a damn good screenwriter, but as one of the greatest directors of our era.

Tarantino has brought us a ‘revenge movie’ packaged as a ‘western’. He not only embraces both genres, he brings a sledgehammer and goes to work on them till they both come out looking like his own unique brand of cinema.

Setting the film during the ‘slave-era’ in the United States gives the film so much more than the expected “blaxploitation” elements that Tarantino so loves. The unfolding story of racism, brutality, injustice and vengeance is bloody and confronting without ever really crossing the line. You’ll wince and maybe even look away, but the plot is so involving and entertaining that you’ll happily ride along through some disturbing scenes.

I don’t want to describe any plot points or any scenes. This is the kind of film that surprises and intrigues at every turn. It’s an epic movie that will make you experience every emotion. It’s incredibly intense, funny, exciting, dramatic and even emotional.

Jamie Foxx is perfect as the quiet but powerful Django and Leonardo DiCaprio gives a fantastic performance as the villainous Calvin Candie, but it’s Christoph Waltz who (again) delivers a rich, multifaceted turn as Dr. King Schultz. Waltz was made to bring Tarantino’s characters to life.

Django Unchained is a rare sort of film – even for Quentin Tarantino’s already high standards. It’s as though he’s managed to find the perfect balance for his love of dialogue and his passion for cinematic imagery. These three words are more than overused when describing great pieces of cinema but they couldn’t be more apt for this masterpiece: AN. INSTANT. CLASSIC.


– G.T.