frazier99

The plot is not conceived, the heroes go to rescue their friends, kidnapped by the savages. However, I did not expect from the film some plot tricks. But what I really expected was that the story would be diluted with a couple of dashing cowboy jokes or some interesting events that dilute the movement of the heroes to the cherished goal. But I didn't see it. There were some attempts, such as gangsters Mexicans and stealing horses, but all this was presented so crumpled and inaudible, that did not leave a smooth account of any memories. The duration of the film is very long, and at some point I caught myself thinking that I was incredibly bored. The dynamics are simply zero. Well, let's say the creators of the film didn't set a goal to show us dashing shootings and fights - that's not the message, but in this case, I can't understand what justified such an impressive duration of the film.

There are no special claims to the actors. What they were offered, they played. But the very images of the main characters were not impressed, they are cardboard and some fresh, inanimate. Deaths of heroes do not cause an emotional response any more than the deaths of bloodthirsty savages. The heroes are not empathized, and this is a serious omission.

In recent years, the 'Star Wars' universe under the aegis of Disney has undergone a lot of necessary and unnecessary changes, thus causing the anger of fans, and vice versa, giving them a huge fan service and causing delight and admiration. But Jon Favreau series is really a sip of freshness in this most distant galaxy...

What Jon Favreau once did for the cinematic Marvel, apparently, now he is doing for the space saga - gives a turn to the new development of the universe. And the main spoiler - the creator of the series coped with this task on hurrah.

The story of the series is smooth, quiet as a desert on Tatuin, but at the same time, its very atmosphere gives a closer look at the universe of 'Star Wars', doing it largely thanks to the elaborate environment and details, which the trilogy films in their time could not devote enough time. And, of course, all this action is filled with rich action, causing almost childish delight when watching it.

All the charm of "Django" is not in excellent stylistics, meticulous script and not in the first-class game and selection of actors. The director and screenwriter Quentin Tarantino is at the heart of this tangle of coolness, so you should start promoting this work with him.

Tarantino, like his character, dropped the shackles of genres, difficulties in perceiving the fresh works and focused on what he loves and knows best - the 'spaghetti western'. At first glance, the genre is as simple as a gingerbread, water everything with ketchup and eat with actors, however, only Tarantino and one more person today can separately shoot spaghetti westerns and "thrash" without confuse these concepts. With all the comedy, blood and conventionality, Quentin draws within a single canvas of realistic slavery, realistic people, realistic love and in general digs traditionally deeper than you expect.

With the hero of the day Tarantino all around his finger. Jamie Fox and Leonardo Dicaprio are as good as you can expect from them in this situation and even more. But the script is written, first of all, to Christoph Valz and with his participation in a painstaking process; he is the king here, he is the central character, this is his benefit. His talent creates once again such things that the film wants to be revised in any way. For this purpose, by the way, from 2013 distributors will start showing original movie tracks with subtitles in cinemas (in addition to dubbing), which will be very valuable for many.

On this "German" element of the picture is not exhausted. Firstly, Django became a cult and found popularity in the 60's not only in America, but also around the world and especially on German soil. In their edges, as we have now, sometimes during localization they put the name "Django" in the name of films without any reason, simply because "also spaghetti western". Secondly, the story of a liberated slave and his beloved echoes the myth of Siegfried and Brunnhilde, the good thing is that the latter is called that. From all this symbolism, which Tarantino already has enough, comes legendary at all levels.

Thanks to the dialogues, personal skills and plus all the make-up artists' work, the images of most of the secondary characters will be remembered, especially Samuel L. Jackson (the role of the bad grandfather was obviously successful) and the cowboy Don Johnson.

And what happens to the music in "Django"! The viewer is satisfied with a roller coaster of the epochs, Morricone starts, modern performers like John Ledgend continue, and Jerry Goldsmith, a classic, completes the ride. The selection is so diverse that it seems as if Tarantino wanted to please everyone. And he managed to do it.