AB Films begins its sojourn into the legacy of Spaghetti Westerns with Django, Sergio Corbucci’s iconic tale. It’s unfortunate that we will only think of this as the predecessor to Quentin Tarantino’s newest joint, because there is a lot to love here and it really should be required viewing for fans of Tarantino’s rehash. This is a film that spawned more sequels than pretty much anything else and refuses to be tamed. If you want to know why Tarantino seems as clever as he does, don’t miss this.
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The newest joint from our favorite wise guy auteur. Quentin Tarantino mashes his two greatest obsessions together — Westerns and exploitation flicks — to create this very complicated Frankenstein of a film. Django is codified as an exploitation flick, but functions as a type of revenge, a theme we have seen Tarantino explore before. Every corpse is filled with two or three times the normal amount of blood, and style is the substance. Leonardo DiCaprio and Christoph Waltz, perhaps the greatest speakers of Tarantenese to ever walk this Earth, perform valiantly in a picture that ultimately fails to become the kind of arresting moral behemoth that Inglourious Basterds was in 2010.
The Good, the Bad, and the Ugly
The ultimate Spaghetti Western and Tarantino’s vote for greatest film of all time. Sergio Leone masterfully pits three men against each other in an epic of radical proportions. There was nothing that could have prepared the world for this eruption in 1966. It’s the role that defined Clint Eastwood. It’s the music that defined a genre. It’s the style that influenced a generation. The Good, the Bad, and the Ugly is not for the faint of heart, but it rewards any who dare to master it — a totally unique and visionary spin on the Western genre that has yet to be outdone.