2020-2029, Film Review

One Battle After Another (2025)

Posted on October 4, 2025November 13, 2025 by Martin: Through the Silver Screen

**© Warner Bros. Pictures and Ghoulardi Film Company**

One Battle After Another – Film Review

Cast: Leonardo DiCaprio, Teyana Taylor, Chase Infiniti, Sean Penn, Regina Hall, Benicio Del Toro, Alana Haim

Director: Paul Thomas Anderson

Synopsis: A washed-up former revolutionary is forced to confront his past when both he and his daughter are hunted by a former foe…

Review: You’d have to be living under a rock to be unaware that the political climate in the United States in 2025 is as fraught and bitterly divided as it has been at any point over the past decade. In such politically charged times, it takes a brave filmmaker to hold nothing back and go for the jugular with a thorough, uncompromising look at the land of the free and what the country actually stands for. Enter Paul Thomas Anderson, with a film two decades in the making, where the revolution will very much be televised.

In one of, if not the, most frenzied first acts of the year, Pat (DiCaprio) and Perfidia (Taylor) are two members of the far-left revolutionary group the French 75. The group have gathered outside an immigrant detention centre to storm the facility and release the migrants detained, while also perpetrating attacks against other key targets against the country’s infrastructure. These attacks capture the attention of Colonel Steven J Lockjaw (Penn), who makes it his personal mission to hunt down and eliminate the group’s members at any cost. Pat and Perfidia soon fall in love and have a child, whom they name Charlene. After their daughter’s birth, Pat is determined to lay low and leave his revolutionary days behind, but Perfidia isn’t one to give up the fight so easily, which lands her on Lockjaw’s radar. After 16 years of lying low, now going under the aliases of Bob and Willa (Infiniti), the duo find themselves on the run again when they realise they are once more in Lockjaw’s crosshairs.

After an adrenaline-charged first act that throws you headfirst into the heat of the action, Anderson briefly gives the audience a moment to catch their breath, but don’t get too comfortable. One Battle After Another truly lives up to its title; while the characters may have claimed an initial victory, the war is far from over. Loosely adapted from Thomas Pynchon’s 1990 novel Vineland, Anderson’s screenplay is sharp and scathing in its criticism of modern-day America, and the parallels between the revolutionaries and the pushback against the US government’s callous and inhumane treatment of migrants are all too relevant in the absurdity of this timeline. Yet, this is a film with a lot more on its mind as it also scathingly rebukes the hatred and oppression that marginalised groups, especially immigrants, face and a society which allows this contempt to filter into society through truly poisonous ideologies such as white supremacy. Such hatred, while those at the top perpetrate rampant corruption. It is all too relevant to the absolute authoritarian hellscape that is the US in 2025, which ensures the film hits like a sledgehammer, with a powerful and furious urgency.

Having come very close to working with Anderson on 1997’s Boogie Nights, Leonardo DiCaprio can finally add Anderson’s name to the distinguished list of filmmakers he has worked with across his career. DiCaprio rarely disappoints, even when the film around him is an absolute dumpster fire (looking at you Don’t Look Up). Unlike that film’s pitiful attempts at humour, Anderson combines the tense political themes with a surprising amount of humour. Not least because in those 16 years, he has developed a penchant for anxiety-reducing drugs to ease his paranoia, which is understandable given his revolutionary past. Consequently, he spends a not insignificant part of the film stoned out of his mind, while wearing a knitwear bathrobe that could give Jeff “The Dude” Lebowski a serious run for his money. Taylor makes her presence felt with what little screentime she has, but it is to the film’s detriment that she only appears in those explosive first 30 minutes and disappears thereafter.

Going toe to toe with such a titan of the industry would be a daunting task for anyone, especially a newcomer, but Chase Infiniti goes toe to toe with her more experienced counterpart and more than holds her own with a fierce and spirited performance. Even in the midst of a society that is seemingly crumbling before her very eyes, there is fire in her belly, especially when it comes to the threat posed by Lockjaw and her determination to find and be reunited with her father. Penn gives a fiendishly frightening turn as a bigoted and loathsome human being (those individuals being well represented in the current US administration) who thrives on the cruelty and mistreatment of others and will stop at nothing with almost robotic-like efficiency until he finds his target.

Shot in stunning VistaVision, Michael Bauman’s cinematography is nothing short of breathtaking, pulling the audience into a vividly chaotic world on the brink of collapse, yet still managing to find beauty amidst the turmoil. Jonny Greenwood continues his collaboration with Anderson with a score that pulses with intensity, driving the film’s 162-minute runtime with an electrifying energy that ensures the pacing never lags, culminating in a pulsating, edge-of-your-seat action sequence in the third act. The fires of revolution have been lit, and it is up to all of us to ensure they never go out, especially in the face of fascism, bigotry and tyranny from power-hungry madmen. Viva La Revolución!

Combining comedy with high-intense and serious drama in a society on the brink doesn’t always fully mesh. However, with the power of its performances, especially newcomer Chase Infinity, and its furiously urgent messages ensures Paul Thomas Anderson has made the most important film of his career to date.

2020-2029, Film Review, London Film Festival 2023

Killers of the Flower Moon (2023)

Posted on October 17, 2023February 5, 2025 by Martin: Through the Silver Screen

© Apple Films, Paramount Pictures and Imperative Entertainment

Killers of the Flower Moon – Film Review

Cast: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, Cara Jade Myers, Jillian Dion

Director: Martin Scorsese

Synopsis: Telling the true story of what became known as “The Reign of Terror” where a series of murders of members took place in the 1920s against of the Osage Native American tribe in the 1920s, sparking a major law investment investigation…

Review: The 1920s, or the Roaring Twenties, was defined by economic prosperity across Western society where certain sections of the population gained enormous wealth. However, as history has shown us time and time again, for some people, the wealth they have acquired is somehow never enough. They are driven by insatiable greed, which as the trailer summarised is “an animal that hungers for blood” and will be willing to commit appalling acts of violence to obtain such wealth. It is this greed and corruption, as well as a series of brutal murders which forms the basis for the latest epic from one of cinema’s greatest living directors.

Ernest Burkhart (DiCaprio) returns to Osage County, Oklahoma after serving in the First World War. In 1898, the discovery of huge quantities of oil underneath the land belonging to the Osage Native American tribe instantaneously made them some of the richest people in the world. Yet, the possession of this wealth provokes the Caucasian members of the community to conspire against the Osage tribe, to swindle them out of this money so that the wealth can come to them. To that end, Burkart is persuaded by his ruthless uncle William Hale (De Niro), to marry Osage member Mollie Kyle, so that were anything to happen to Mollie’s family, the lucrative wealth of this oil money would be passed on to Burkhart, and by extension, Hale.

Based on the book of the same name by David Grann, the screenplay by Scorsese and Eric Roth frames its story from the perspective of the Osage people. We see through their eyes how the viciousness, corruption, greed, as well as white supremacy, drove people to systematically kill off the Osage community. As one Osage leader puts it “they’re like buzzards circling our people”. Over 206 enthralling minutes, the film combines the love story between Mollie and Ernest, the central plot to eliminate the members of the Osage community, and the ensuing Bureau of Investigation (BOI) inquiry into the murders.

Marking the sixth collaboration between himself and Scorsese, DiCaprio is excellent as Burkhart. On the surface, he comes across as a bit dim-witted and extremely naive. Yet, he is also ambitious and is spurred on by his uncle to do some truly terrible things all in the name of acquiring more wealth. Even though she could sense from the start what his ulterior motive was, the romance between him and Mollie is genuine and causes Burkhart to be severely conflicted about the plans his uncle has put in place. In what is De Niro’s tenth feature film collaboration with his long-time friend, he is as thoroughly loathsome and reptilian as Hale. On the outside, he comes across as this charming and friendly soul towards the Osage. Yet, on the inside, he spouts white supremacist ideology which feels eerily reminiscent of modern times. It’s a scaled-back performance in many respects, as he does not need to raise his voice to cause other characters, especially Ernest, to be immensely afraid of a deadly reprisal given the power he holds in the region. Both actors have become Scorsese’s muses over the course of his glittering career, and to see them act opposite each other in a feature film for the first time is a special sight to see.

However, both are outshone by the film’s heart and soul, Lily Gladstone’s Mollie. She initially displays a quiet and restrained performance, even as members of her family and the Osage are being killed. Yet, as the film progresses, that restraint turns into something much more potent and fiercer when it comes to seeking justice for those Osage members who have been cruelly murdered, which results in the Bureau of Investigation sending agent Tom White (Plemons) down from Washington D.C. to lead an inquiry into the murders.

Having been given the largest-ever budget on a Netflix film with his previous film, Scorsese has followed suit with his move over to Apple (with a reported budget of $200m) and the results are as immaculate as one would expect. The filmmakers worked extensively with the Osage tribe to ensure authenticity and were permitted to shoot in areas where the events depicted happened. Similarly, the length gone to recreate genuine Osage costumes, particularly the blankets, demonstrates the tremendous level of care which went into the production. It gives the Osage community a voice which history has often tried to silence. Under the trusted eye of his regular collaborator Thelma Schoonmaker, the film’s editing is meticulous and keeps the film’s pace briskly moving along so that those 206 minutes whistle by, reinforcing the idea that no film is too long if it is paced correctly. Having served as cinematographer on his films since The Wolf of Wall Street, Rodrigo Prieto’s cinematography is visually striking in capturing the Oklahoma oil fields bathed in sunshine and when required, shifts gear when it comes to the abject horror the Caucasian community wrought upon the Osage.

He might have now reached the age of 80, but for Scorsese age is clearly just a number. He continues to not let his age get in the way of producing stunning pieces of cinema which can shine a spotlight on an important piece of US history that should never be forgotten. It reminds the audience of the horrors and evils that can come with rampant corruption and greed, a lesson which still holds true in modern society. Cinemagoers across generations have been able to watch a master at work for over 60 years, and for that, we can be immensely grateful.

An epic and all-encompassing rumination on the perils of rampant greed, the ugliness of white supremacy and the US’s shameful history when it comes to the treatment of the Native American people. Another stunning achievement from one of the best directors cinema has ever seen.

2020-2029, Film Review

Don’t Look Up (2021)

Posted on February 6, 2022December 30, 2022 by Martin: Through the Silver Screen

Don’t Look Up – Film Review

Cast: Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Cate Blanchett, Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Ron Perlman, Ariana Grande, Scott Mescudi

Director: Adam McKay

Synopsis: When two astronomers discover a deadly comet is directly on a collision course with Earth, they try to sound the alarm to the rest of the world…

Review: It’s one of the most pressing matters that humanity in the 21st century is having to contend with: the future of the planet that we call home. It’s an issue that has attracted the attention of the world’s media and has prompted figures from all corners of the globe to take a stand and urge those in positions of power to act before it is too late. Yet, in recent years, we have seen some world leaders fail to recognise what is truly at stake for the future of our planet. Having turned his eye on the 2008 Economic crash and the rise and fall of US Vice President Dick Cheney, Adam McKay has now turned his attention to this impending threat facing humanity, the responses of those who wield the power to do something about it, and how various aspects of modern life cover this pressing issue our planet is facing. And he does so, in the smuggest and most pompous manner possible.

Astronomers Dr Randall Mindy (DiCaprio) and Dr Kate Dibiasky (Lawrence) make an alarming discovery: a giant comet is set to collide with Earth in around six months time. When it collides, it will cause catastrophic destruction on a global scale. Heading straight to Washington D.C. to inform the President (Streep) of their discovery, they are astounded when the White House doesn’t choose to take immediate action to stop the apocalyptic threat. Left with little option, they resort to other methods in order to inform the rest of the planet, in the hope that their warnings of impending doom will somehow prompt those in charge to take action to avert humanity’s destruction.

It is hard to ignore the fact that the idea for this film feels borne out of a particular world leader and his indifference towards the major issue of the environment, and the challenges that the human race faces over this important topic. This feels only exacerbated by the ongoing situation with the COVID-19 pandemic and the catastrophic failure by the US Government at the time, to deal with this crisis in a swift and efficient manner. These categorical failures of leadership seem to be McKay’s motivations for writing and directing his latest satirical attack on the current state of US politics, as well as numerous aspects of 21st-century life in general. Yet, there is absolutely no subtlety about who and what McKay is targeting. It comes across like he’s trying to say to the audience how funny or witty his satire is. When in reality, it comes across as extremely patronising. There’s an important lesson to be taken from the need to focus on the environment. However, as with both his previous films that were very much from a satirical perspective, there’s something that’s unbearably smug and arrogant about the manner in which he seeks to deliver this message.

Because of the gravity of the topic that’s being “satirised”, there was an opportunity to provide some thought-provoking, social satire that is nuanced and subtle in what it tried to convey, In reality, McKay’s screenplay, much like his previous films, is about as subtle as taking a sledgehammer to someone’s kneecaps. The satirical writing, or lack thereof, opts to beat the audience over the head with its themes so obnoxiously that it begins to actively make you angry that you don’t really care what he or the characters are trying to say, which is not good when there’s an important lesson for humanity to take away from the events being depicted. There’s no denying that McKay has assembled some of the biggest names in Hollywood for this cast, with lots of beloved actors. Yet, McKay’s dialogue is so overbearingly smug and obnoxious that you openly despise each and every single one of the characters, which makes the run time of the film feel two or three times as long.

The best of a bad bunch is easily Leonardo Di Caprio’s Dr Mindy, he tries his best but when he’s given such horrific material to work with, he can only do so much. Meryl Streep does a decent enough job at portraying a President who couldn’t give two shits about the public they’re meant to represent. However, it’s so painfully obvious who she, and her son (Hill) are meant to be a parody of, their characters might as well have been named Trump. Such a serious and important topic deserved a film worthy of this talented cast, and a director who did not take an infuriatingly offensive approach to the topic. You may well almost want the world to come to an end by the time this apocalyptic misfire of a film reaches the credits.

What credit the film warrants for taking on such an important topic is immediately negated by its extremely condescending approach in how it chooses to approach the topic at hand. As a result, the whole film feels utterly pointless as a satire.

2010-2019, Film Review

Once Upon a Time in Hollywood (2019)

Posted on August 16, 2019August 9, 2025 by Martin: Through the Silver Screen

Once Upon a Time in Hollywood – Film Review

Cast: Leonardo DiCaprio, Brad Pitt, Margot Robbie, Kurt Russell, Margaret Qualley, Timothy Olyphant, Austin Butler, Dakota Fanning, Al Pacino

Director: Quentin Tarantino

Synopsis: Set in 1960s Hollywood, amid fears that the industry is leaving him behind, actor Rick Dalton (DiCaprio) and his stunt double Clith Booth (Pitt), try to reignite Dalton’s career, all the while new actors like Sharon Tate (Robbie) are becoming the new faces of the industry…

Review: There are certain directors who, whenever they come out with a new film, it becomes the subject of much anticipation and hype in the build-up to the film’s release, and Quentin Tarantino’s films definitely fall under that bracket. As he so often does, Tarantino fuses his passion for the craft of filmmaking and blends that with his passion for a bygone era of Hollywood, as for his ninth and seemingly penultimate film, takes the viewers on a journey to 1960s Tinseltown.

It’s 1969, and after starring in a hugely popular TV show, actor Rick Dalton’s career has hit a rocky patch. He has a moment where reality bites hard, and he realises that his days as a leading man are seemingly drawing to a close, as the industry is leaving him by the wayside with other actors on their way to becoming the star that Rick used to be. Determined to stay relevant, alongside his stunt double and great friend Cliff Booth, Rick strives to pick himself up and reinvent his career.

Tarantino’s scripts of the past have thrived on the dialogue to drive the film forward, and in many cases given that it is superbly written dialogue, it serves the story extremely well. Through the sharp dialogue, it makes the lives of the charismatic characters that Tarantino so often brings to the screen absolutely worth investing in. Leo DiCaprio and Brad Pitt are both on excellent form as Rick and Cliff. Though they might be as A list as you can get in present day Hollywood, both have excellent charisma and they form a solid friendship with one another. It’s not quite a Vincent Vega and Jules Winfield level of camaraderie, but it comes mighty close.

As well as the sharply written dialogue, a QT movie is known for being a touch on the violent side. However, in this instance, the violence is dialled back significantly as Tarantino gives us a much more dialogue-driven film. One that takes a nuanced, in-depth, fascinating look at the Golden Age of Hollywood, that has the careers of Rick and Cliff front and centre, with this era as the backdrop in all of its glory. Though these men are both fictionalised characters, there’s something about both their performances that makes them feel like they were cut from the same cloth as the stars that dominated the industry at this time. In a cast that is well stacked with considerable talent, the standouts besides DiCaprio and Pitt, are Margaret Qualley’s Manson family member, and a scene stealing performance from a young actor who gives Rick a damn good run for his money.

Though she was a perfect choice to play Sharon Tate, Margot Robbie, frustratingly, does not get nearly enough screen time as her male lead co-stars. What’s more, in the scarce screen-time she is given, she has frustratingly few lines, which feels like a scandalous waste of her talent. Nevertheless, Robbie works wonders with the little material she was given which honours the tragic actress. Given that a Tarantino Picture is usually in the realm of three hours, the first act of the film is a bit of a slow burn that, narratively speaking, is a tad uneven. It takes its time to find its footing and truly hit its stride. The excellent production design and costumes ensures that 1960s Hollywood is captured with a real sense of authenticity. Yet even with that, the near 2-hour 40-minute run time does feel somewhat excessive.

Meshing fact with fiction has produced some uproariously entertaining moments in previous Tarantino flicks, and OUATIH‘s best use of this blend of truth and fantasy is in the film’s enthralling and nail-biting third act. You may know of the tragic fate that befell Sharon Tate on that fateful August night, but to see how those events would play out in Tarantino’s wacky, but brilliant mind is what you pay to see when you come to watch a flick by Quentin Tarantino. It may not be his strongest film, but like Tarantino reminiscing about the Golden Age of Hollywood, present-day Hollywood may find itself reminiscing if, after his tenth picture, Tarantino decides to hang up the director’s chair for good.

A passionate love letter to the Hollywood of yesteryear, fused with the typical well written QT dialogue and a superb pair of leading performances from two of the most charismatic actors in the business.

2010-2019, Film Review

The Revenant (2015)

Posted on January 17, 2016May 29, 2017 by Martin: Through the Silver Screen

The Revenant – Film Review

Cast: Leonardo DiCaprio, Tom Hardy, Domhnall Gleeson, Will Poulter

Director: Alejandro González Iñárritu

Synopsis: When a fur trapper is viciously attacked by a bear and left for dead by his men, he sets out on a quest for revenge against them who left him to die.

Review: From a story about a man who was a washed up superhero trying to put on a Broadway play in one year, to a chilling tale of revenge for another man in the 1820s, it is quite the contrast for Mexican director Alejandro González Iñárritu. His 2014 effort Birdman for all its eccentricities, won the director three Academy Awards. Yet he surpasses himself with this true story, about one man’s fight for both survival and vengeance in equal measure, and with a whopping total of twelve Academy Award nominations received, it makes what has been a well documented troubled, delayed and hellish shoot all the more worth it, especially as it is almost certain to take home a few golden statues this year.

This frighteningly true story focuses on DiCaprio’s Hugh Glass who is part of a fur trapping expedition in the USA and after being brutally attacked by a bear protecting her cubs, he’s left behind principally by John Fitzgerald (Tom Hardy) and left to die, except he doesn’t die, and after personal tragedy, he’s now on an angry quest for revenge, as well as a difficult struggle to survive the severe force of nature, that is well, nature. The bitter cold that the characters find themselves in almost filters its way through the audience as the incredible cinematography makes the audience feel as if they are in this perilous and horrendous situation that Glass in particular finds himself in. It’s a chilling 156 minute tale.

The aforementioned cinematography is simply flawless, and is almost certain to bag a hat-trick of Oscars for DP Emmanuel Lubezki after winning for Gravity and Birdman. The decision to use natural lighting was a masterstroke, giving a real look of authenticity and the film is visually magnificent with more than a handful of spectacular shots that will take your breath away. It is without a doubt one of the most visually impressive movies that has ever been made.

Through all the stunning cinematography, there are a handful of really unpleasant and brutal scenes, namely the bear scene. It is a tremendous visual achievement, and is gripping to watch, but also equally disturbingly realistic and gory. The performances from all of the cast are all excellent but the two that stand out by far are those of Tom Hardy and Leo DiCaprio, the latter of whom really threw himself into the role, to the point where he must have got hypothermia on several occasions.

You watch with suspense as he crawls across the landscape, driven by a fierce desire for revenge and the sheer will to survive against the uncompromising force that is nature. You root for him and you want him to succeed and again, it could be the role that finally lands DiCaprio the Oscar at the sixth time of asking, and also gives Hardy a decent shout at getting his first statue.

Hardy is also equally mesmerising as the film’s villain, yet there were times when he was very difficult to understand, often reverting to his sort of trademark mumble. Will Poulter and Domhnall Gleeson, who has had quite the year after Ex Machina and Star Wars, are also tremendous. Yet this is the DiCaprio show, and he totally owns it.

The violence on show here is pretty intense and certainly not for the faint of heart, yet for all the production problems, rebellion by the crew, and the delays to the shoot, which forced Hardy to drop out of this year’s Suicide Squad. Their efforts paid off, in a big way, with an equally tremendous score to go with it. It is uncompromising, brutal, and one of the best movies of not only the past twelve months, but this decade and one of the most riveting pieces of cinema you will ever watch.

Visually magnificent, with tremendous performances from DiCaprio and Hardy in particular, this is an incredible film-making achievement and is not to be missed.

2010-2019, Film Review

The Wolf of Wall Street (2013)

Posted on February 9, 2014May 29, 2017 by Martin: Through the Silver Screen

The Wolf of Wall Street – Film Review

Cast: Leonardo DiCaprio, Jonah Hill, Margot Robbie, Kyle Chandler, Matthew McConaughey, Jon Favreau, Joanna Lumley

Director: Martin Scorsese

Synopsis: Based on the true story of Jordan Belfort who starts work as a trainee stockbroker before going at it alone by starting his own stockbroker company. He soon acquires a vast fortune through various methods and it is not long before the authorities are on his trail

Review: What do you get if you cross one of the best directors of the current generation, with one of the finest actors working today? Simple really, you get this hilariously entertaining, enthralling account of the life of Jordan Belfort. A life that involved involving stockbroking, money laundering, debauchery and raucous behaviour throughout its three hour running time. Scorsese, in one of his funniest films to date, brings the story of Jordan Belfort to life in an uproarious way that will have you entertained from start to finish.

The story of Belfort is a man who begins his profession as a stockbroker, and through a series of twists and turns eventually sets up his own company that continues to grow and grow making millions upon millions of dollars. Money, money, money, is always at the forefront of his thoughts. However not all of this money has been acquired by legal means. The excitement grows as the FBI are soon on the hunt for Belfort to question. Through this three hour tale, Scorsese gives us a little insight into what the life of someone who works on Wall Street may entail.

Belfort is wonderfully portrayed by Leonardo DiCaprio. He has several monolgues in the film where it almost feels like he’s talking to you as the viewer and he’s taking you along for the ride. Furthermore whenever he has a microphone in his hand, you pay close attention to what he’s saying. There are (hopefully) no aspirations among audience members to follow DiCaprio down the path he’s taken, but you watch with excitement as his journey unfolds. The ambition that comes from this character ensures the audience are on board with his endeavours.

Another strong performance in the film comes from Jonah Hill in probably his best film role to date. His work in Moneyball earned him his first Oscar nomination, and this performance here earns him another nomination.His character adds another level to the hilarity that is has already been put on screen. He has some golden moments in this film, one scene in particular with him and DiCaprio that should have you in hysterics. From scene one to the final end scene, this film is packed to the brim with hilarious moments.

Plenty of these scenes are filled with hard drug use and outrageous behaviour that may be too much for some but these scenes while they may be crude in nature, are brilliantly shot and wonderfully acted by everyone involved, including a great cameo appearance from Matthew McConaughey. Margot Robbie also gives a great performance as Belfort’s poor wife Naomi. As the film goes on, she has to put up with her husband’s decadent lifestyle and gets increasingly frustrated by him.

Despite the crude behaviour that is packed throughout this film’s run time, it does not condone the shocking behaviour that is seen. There are consequences for this sort of behaviour and the film really hammers that point home. It’s three hour run time is maybe a bit too long but overall with first class performances from DiCaprio and Hill, combined hilarity throughout, The Wolf of Wall Street was one raucous and side-splitting piece of story telling that definitely adds itself neatly to the collection of the wonderful filmography of Martin Scorsese.

A solid performance by DiCaprio, with a tremendous supporting turn from both Hill and Robbie, with masterful direction as usual from Scorsese.

2010-2019, Film Review

Django Unchained (2012)

Posted on October 30, 2013June 20, 2019 by Martin: Through the Silver Screen

**Image rights belong to Columbia Pictures and The Weinstein Company**

Django Unchained – Film Review

Cast: Jamie Foxx, Christoph Waltz, Leonardo Di Caprio, Kerry Washington and Samuel L Jackson

Director: Quentin Tarantino

Synopsis: A freed slave sets out on a mission to rescue his wife from the clutches of a crooked slave owner, aided by a German dentist turned bounty hunter.

Review: In his latest work, director Quentin Tarantino again gives his audience another thrilling spectacle of blood and revenge. Like Inglorious Basterds, Tarantino sets his latest story in a historical context. With the former set in the World War II era, Django Unchained is set in the Deep South of the United States, with the slave trade and shortly before the outbreak of the Civil War.

All the film’s principal cast play their roles to perfection. Special mentions go out to Foxx and Waltz. Foxx delivers a powerful performance, as he goes from being a really timid and weak slave to a confident bounty hunter under the guidance of his German partner. Another stellar performance also comes from Waltz in his second film with Tarantino, the first being Inglorious Basterds. His performance here, like in Basterds, was one in the Austrian excelled and landed him the Oscar for Best Supporting Actor for the second time, a rare achievement in Hollywood. Waltz and Foxx have great chemistry on screen and as the film develops, their partnership only gets stronger. Leonardo DiCaprio also excels in his role as Calvin Candie, the cruel and brutal owner of the plantation on which Django’s wife is held in captivity. Similarly, Samuel L Jackson, plays Candie’s fiercely loyal house slave, Stephen, and again, the performance by Jackson was incredible.

While Candie, initially appears to be the film’s main villain, it could be said that it is Stephen who plays the main antagonist. His relationship, or lack of it with Django is almost instantaneously hostile and only worsens as the plot develops. Meanwhile, the camaraderie between Stephen and Candie is fascinating to watch as Stephen is forever lurking over his master’s shoulder like a predator that is lurking, waiting for the right moment to pounce on its prey. The dialogue between the main characters is outstanding.

In true Tarantino style, the film has some very violent moments, some of which may cause the viewer to wince in horror. Yet, at other times, the violence is at times somewhat over the top, or excessive. Yet the violence is Tarantino’s signature piece and he delivers in emphatic style with some great action sequences. Nevertheless, the films offers moments that will keep you glued to your seat, or maybe hiding behind the couch in fear. However, the film offers comedy value and it has its comedic moments that will get the audience laughing. The length of the film may put some people off, as Tarantino films have had tendencies to drag on for a little bit too long. However, with Django Unchained, every minute counts and is important to the plot.

Another top drawer aspect of this film, as with many Tarantino films, is the soundtrack. With the likes of John Legend, Jerry Goldsmith, 2pac and Luis Bacalov, the soundtrack delivers the tone of each scene perfectly and hats off to Mr Tarantino for that. However, along with some criticism over the violence, the constant use of the N word in this film is another aspect has attracted a lot of disapproval from some viewers. In spite of this, Django Unchained is a terrific film and in my opinion, is Tarantino’s best yet. The character development, particularly Django’s is just superb. Similarly, the acting is fantastic all round with some terrific action sequences and a superb soundtrack. Waltz deserved his second Oscar for Best Supporting Actor.

Tarantino deserved his second Oscar for Best Original Screenplay. Without doubt, it is a film that breaks boundaries, and goes places where some directors would not dream to go. It is controversial of course, but controversy and Quentin Tarantino practically go hand in hand. The film delivers on all fronts and it is a must see.