Death Race (2008)

Although many tried their take on classic exploitation themes in the last couple of years, I haven't touched such miserable crap as "Death Race", even "Bitch Slap" was better. Pitching a classic story of New World Pictures, unforgettable "Death Race 200" (1975), directed by Paul Bartel, which cost $300.000 to produce, this new independent movie brought to the ground all that made the original such a cool piece of budget filmmaking. Let's recall that the oddball pruduced by Roger Corman became a sort of cult flick throughout the years bringing forward the idea of "future sports" genre (originally derived from 60's pulp science-fiction novels) and directly inspired such film masterpieces as "Mad Max" if we are to believe its creators.

The modern "version", starring Jason Statham, hunts for old school cheap thrills, but completely misses the point in a fervour of blowing up everything on the screen. This is actually one of these things putting me off modern action movies as you really need to microwave your brain first. While AIP and NWP B-flicks were low budget fantasies, which featured cheesy special effects and weird scripts, they followed so called Corman's formula embracing "action, sex and humour". Due to this peculiar mixture often involving hints of anti-establishment stance or even over the top plots involving leftist revolutionaries, embedded in context of the stories, they made the trick of operating on more than one level and survived the sad times, when drive-ins eventually became history forcing producers like Corman to go straight into VHS.



"Death Race" nicks the original story with Corman's official blessing (executive producer credit) putting it in 2012, while American economy collapses and millions of workers are laid off, which causes general havoc and provokes bloody riots. Main character, Jensen (Jason Statham) shares the pain as he's been kicked out as well and paid dime. But coming back home won't be smooth as he's wife gets brutally butchered and he appears to be framed into beaing a murderer. Convicted by the court he's transported to a corporate, maximum security prison (public prisons have been erased in favour of private prisons, operated by international corporations), where he faces inevitable death from hand of the inmates if he doesn't agree to take part in Death Race... as Frankenstein, the biggest hero of this sport, who just died after a fatal car crash.

And there it goes, folks! 95 minutes of violence, car chasing, violence, car chasing and more violence. I personally reached for this movie when saw Corman onboard, nevertheless got bored with it after half an hour. The reasons are plenty. First of all, it bears scarce to none resemblance to "Death Race 2000". Second of all, oldtimers' exploitation formula has been ditched completely. There's no nudity, sex or even occasional tits dancing, so forget about a real fun, guys. Dialogues are as dull as in the shittiest Hollywood blockbuster, this feeling of having them written by a computer program applies well. Political musings are not completely absent, but they're quickly munched by monster car chasing. In fact the only idea of pumping up the action is to bring some locomotive-car with superdestructive firepower (so fuckin' gross). Don't even bother to give it a try if you have a long watchlist to go through, it's just a waste of your precious time.

Machete (2010)

Undeniably Robert Rodriguez's biggest hit in years, which resonated well in his fan base and helped to spread the word futher to the outside world, that exploitation was indeed back on the block and kicked butts exactly like it had done in the golden years of drive-in and grindhouse cinema (we're saying late 60's and early 70's). While it didn't hit my guts as strongly as a preceding take on the convention – "Planet Terror", it definitely managed to come down with whole lotta fun, recalling all these sleazy stirs of Corman's New World Pictures exploitation products – to name the biggest shop of the time. As the idea of a smashing trailer evolved into a feature movie, the action was developed into a shitstorm of badass skull-ripping, high octane explosions, sex mini-adventures and borderline notoriety. The character of Machete himself draws largely upon the lines of jungle movies black revolutionaries like mythical Jim Haygood from "Savage!" (1973), classic underground vindicators like Billy Jack ("The Born Losers") or you name it.

When Machete (Danny Trejo) gets accidentally framed looking for justice on a self-driven mission to capture a ruthless drug baron Rogelio Torrez (Steven Seagal), he barely makes his way out of the deepest shit he ever stepped in, losing his wife and daughter. After crossing the US border, he eventually anchors in Texas, where he's gonna desperately look for a regular job, but instead the fate will lead him into the eye of a spiderweb political affair with dark underbelly. Failing to accomplish his mission – which occurs to be another set-up – he becomes a wanted fugitive and again needs to run for his life... but this time he wields his dear machete like a fuckin' angel of death. Not that he particularly likes the violence, but he just doesn't have any choice. Fortunately, he'll get a hand from a stunning immigration agent (Jessica Alba), who's initial aim is to bust a revolutionary Mexican organization known as The Network, but soon she'll stand arm in arm with Machete taking down shadow secretaries and corrupted kings of Texas politics – senator John McLaughlin (Robert De Niro) and his pervert aide – Michael Booth (Jeff Fahey), who struck a deal with Torrez himself to put their paws on the sources of political power.



Bold and swingin' like a doberman on speed, "Machete" does it's job! How on earth Rodriguez cast such an overspill of prime Hollywood playeres, I don't really know cause I'm not his casting director, but that was definitely an important factor in translating to box office success. The script is not as wildly entertaining as "Planet Terror" with few unnecessary licks and could have been polished better, but it's in-your-face simplicty with action and no mercy build-up lands a decent brainfuck with only slight excess of form – parody edge spoils it a bit in my opinion. First half rocks, while second one comes a bit short and the ending lacks a well constructed climax – Rodriguez could have made better and we know it! I guess it was partly intentional – let's not forget that the original classics, shot in a week and edited in two, didn't always make a home run either – but as we got used to the smoothest products, that Troublemaker Studios' dream machine could offer, my brain didn't tick to the full fulfilment beat.

But what the hell, man! The character of Machete is raving! Danny Trejo really broke through with it. Being obsessively cast as a Mexican outlaw/gangster in all TV series possible, he's become a genuine embodiment of the role – a cliche he got stuck with in a way, most recently in "Sons Of Anarchy" and "Breaking Bad". I suppose this made an easier choice for Robert Rodriguez... but why did he have to put on a full-blown Latino showdown??? I have to admit, I really suffered storming the Alamo of vigilantes with low-riders and California choppers in clear spirit of "Mad Max". That was way too much for me, but probably good for teenager market, if you get my point. Nevertheless, I enjoyed watching "Machete" for all these neat cues like Robert de Niro (not exactly ma favourite actor) sort of playing back to his old days in Corman's film school ("Bloody Mama") or great Cheech Martin puffing joints on the screen in tribute to his glorious days of Cheech & Chong stoner flicks, or even Steven Seagal showing off his ken-do and ai-ki-do techniques, this time on the other side of the force. We're all waiting for "Machete Kills" and hope it's gonna beat the original!

Death Proof (2007)

Another part of Tarantino's and Rodriguez's concept double feature – Grindhouse, was named "Death Proof". After Rodriguez managed to wrap up the production of "Planet Terror", Quentin followed with his own idea of molesting drive-in fantasies, concerning mostly early 70's road movies & slasher classics. In a way he landed with a fine piece of modern exploitation movie as it ticks all the boxes... the only remaining question is who actually re-opened these boxes first? Was it Tarantino with "Jackie Brown" and "Kill Bill" – the latter one being basically a homage to Filipino early 80's exploitation movies like "Cleopatra Wong" or "The One Armed Executioner" – or were they Japanese artists like Takashi Miike or Kinji Fukasaku? I'd rather point to Japanese, cause one of the flicks, which pushed Tarantino to reinvent the genre, was in fact „Battle Royale”... but that's for journalists and book writers to cover.

One of good things about Tarantino's effort is that we don't really have to sweat in order to crack the easter eggs. We get shoved all names down our throats as the characters start chatting on the screen and just drop them. Direct inspirations for the basic road frame of "Death Proof" would be such classic films as: "Vanishing Point", "Dirty Mary, Crazy Larry" and "White Lightning" while a slasher factor embraced by the artist would probably wink at such cult 70's flicks as: "Bay of Blood", "Friday The 13th" or "I Spit On Your Grave". As it became a sort of sport in film journalism to chain-link as many titles as it's possible in your super cool review of any genre movie, I'm gonna stop my guess hunting here and get down to it!



I liked "Death Proof", which doesn't mean it was as good as Tarantino's other dishes. I was actually pretty far from fulfillment experienced by watching "Pulp Fiction", "Reservoir Dogs", "Inglourious Basterds" or even "Kill Bill". Having said that, it's entirely possible that "Death Proof" is the worst movie Quentin Tarantino ever made... but it still does the job by delivering the viewers a fresh take on a classic exploitation formula, which made it's comeback since! I'm gonna remind you that famous Roger Corman's formula consisted of three things – sex, action & humour! It came directly from working with American International Pictures, but then got developed even more when Roger started his own company – New World Pictures and knocked out many brainless flicks, considered cult movies today! As Tarantino has deep affinity for this old school of exploitation, he shot his own picture borrowing from it, but using modern standards and his own, wild imagination.

The plot of "Death Proof" is obviously very simple, because you cannot toss a New Giallo on the mass market these days. Sophisticated intrigue would make people drop on the floor in the theater from brain activity overload caused by tension. Tarantino just took the classics onboard and by playing around came with a story of a stuntman-killer named Mike, who has a passion for stalking & finally slashing hot chicks with his death proof car. Character played by Kurt Russell is a fine example of psychotic maniac, his role is as professional as it gets and might be seen as the biggest acting treat of the whole movie. Then we get to watch the chicks, a great package without a doubt. There are eight hot girls, while only four are to survive. As Mike hits the first four victims with his death machine – which gives Quentin an occasion to show this bloody sequence in a replay from many angles – ripped limbs are flying around in handfuls and gals die at the spot! The only thing for Mike to do afterwards is to jump the state as he cannot keep low profile in Texas anymore!

A scene changes and Mike is now in Tennessee. The time comes for real heroines – four smalltime actresses or stuntgirls. A protagonist of the pack is played by Zoe Bell – a professional stuntgirl, who was doing a double for Uma Thurman in "Kill Bill" and thus was a perfect choice for a character of the stuntgirl (easy as that). In "Death Proof" Zoe really shows off her line of work skills by riding on the hood of Dodge Challenger speeding 180 mph and making sure that stuntman Mike will get what he deserves for his naughty behaviour! There are some good dialogue lines in the movie referring mostly to pop & film culture and great music, which saves the day! At least here Tarantino didn't drop below a certain level. The Coasters, Jack Nitzsche, Joe Tex and the whole world of surf, soul, pop rock and indie lost gems. Lap dance done to "Down In Mexico" is one of the very best scenes of "Death Proof" reminding me of cartoonish sleazy vibe of "From Dusk Till Dawn". What can I say? "Planet Terror" comes as a much better shit in Grindhouse package, but then even classic drive-in packages had their lower end. I'd recommend to opt out if you don't like watching exploitation revival flicks at all!

Hell Ride (2008)

It doesn't really surprise anyone that Quentin Tarantino has been casting his shadow on every exploitation revival flick released lately – the guy basically loves the same stuff we do and wants to see it back! Credited as an executive producer of "Hell Ride" – a modern take on an old school biker movie (who ever imagined a comeback of this gritty style?) - we heard he's factually done much more than that. Clearly, it made a good word of mouth and brought a lot of new people to the territory, which they wouldn't normally dare to come anywhere near. Boom and off we go everybody as these old exploitation formulas get their look refreshed and we're here to judge the effect. Only one red flag is up – a market niche fitting this style didn't really break the ground yet, hence things need to be stirred up a little bit. Most likely their way to these pictures will find eventually all crazy maniacs hangin' tough over obscure 60's/70's exploitation oddities, may they only get over all "new sloppines" involved.

To cut it short though, "Hell Ride" is not a good movie by any standards. Plot is thin, acting diluted and occasional nudity or often occuring violence do not make up for it's basic shortcomings. It really makes me wonder how good "The Glory Stompers" (1968) were. Does it hold any aces then??? Yes, a couple I'd say. It's strongest side is the cast including Michael Madsen (unforgettable performance in "Reservoir Dogs"), Dennis Hopper (acting out a great self-homage), Vinnie Jones (a cockney thug in "Lock, Stock and Two Smoking Barrels") and even David Carradine, who gets an episodic role. A gig is led though by Larry Bishop – an original member of the cast of obscure 60's biker flick, "Savage Seven" (1968) – who directs the movie as well. All these great actors are shown as furious, pissing-in-your-face bikers of two rivaling clubs – The Victors and The 666ers. This great potential of powerful creations is yet wasted by both directing and the script. What a shame, man (man, man)! Another heart-pumping move ahead is still a great soundtrack by Davie Allan & The Arrows, who didn't record new tracks – the classic ones are used and they still make a fantastic job. Biker sound rules, don't forget about it!



However, I didn't like many fuckin' things about this flick. The exposition of characters and both MCs through often used nowadays still shots with name tagging is just gross. Sometimes it works and sometimes it doesn't, but for my money it failed here. Another thing is nonsense dragging through meaningless episodes, which are neither catchy nor funny although they are blood-sheding and sometimes filled with nude babes. Some of these scenes can be enjoyed, but too little for my taste. The last but not least, I just couldn't eat these bikers mixed up with a bunch of high rollers as an underlying concept. Other elements of the plot are equally lame, we get Pistolero's (Larry Bishop) peyote trip, which basically means, that we have to stare even more at the unnecessary footage. Some characters are killed over dumbest lines you can imagine and after all, we are tormented with constant flashbacks from the past which take down the intrigue instead of developing it... not saying the story of a vengeance for murder we're fed here, is itself a real low point.

The best moment of the movie is when Eddie Zero (Dennis Hopper) comes into the game – few psychotic lines and suddenly everything looks bright. One of my favourite surf tracks ever – "The Rebel (Without A Cause)" from classic "Apache '65" album – starts when he eventually jumps on the bike lifting this scene a lot! The same applies to Vinnie Jones acting out a scene in a pigpen biker house (or whatever that is). To be honest I didn't much like the chopper riding scenes either, they come as pathetic if we put them next to the genre's most spectacular road shots (think "The Hell's Angels 69"). Who should see this movie then? Only the head losing for a flash of a chopper, genre completists, who will never have enough. They've seen so much baaad shit already, that this one is not gonna kick them in the balls. On second thought, maybe Dennis Hopper's fans as well, who want to see a legend of the counterculture starring in one of his last movies, riding the bike... and even asking for a joint. Otherwise, stay cool and away!

Zombie Strippers (2008)

If you’ve gone through shitloads of classic genre movies, you definitely noticed that Lucio Fulci is the man, who made a first crossover between zombie genre and sexploitation in his cult classic "Zombie" (1979), pitched with a real market wit as a sequel to George A. Romero’s "Dawn Of The Dead" (1978). Honestly, I do not enjoy zombie movies a lot… still good ones come as a surprise. After all, it’s better to be nicely surprised than to be left truly disappointed. Saying this I have to admit I’ve had a lot of fun with trashy "Zombie Strippers", which delivers exactly what is spelled out in the title – topless & undead chicks stripping… and as they’re fuckin’ hot it makes your worthwhile. Is this movie funny? Definitely, even if jokes from time to time get flat-lame, cause what saves the day here is the unprentencious humour-nudity-gore formula. Who would actually believe, that so worn-out genre might still kick around and provide you such a giggle? Well, it does and at least it worked for me.

In the spirit of classic gore & nudity Fulci, director Jay Lee spins his flick around zombies, naked broads and machine gun overkill. It’s the nearest future and George W. Bush just banned public nudity making all strip clubs illegal (ho, ho, ho!)… while somewhere in Nebraska a top secret, governmental laboratory is researching a deadly chemo virus, that turns people into zombies. Soon situation sneaks out of control and elite, military Z-Squad is called in to solve the problem. Unfortunately, one of the Rambos gets bitten by an undead, making his way out ASAP in fear of being eliminated by his – till this point – combat companions. Before poor lad turns into zombie though, he gets to sneak into the underground strip club, ruled by metrosexual Ian (Robert Englund) and his Russian supervisor bitch, where rest of the action will take place.



Suddenly we’re in the middle of the action and we get to to see some sweet piece of ass as the gals come on stage and strip away their bikinis. The cast is pleasant with Jenna Jameson leading this gig, but all other actresses, either stuffed with silicone or not, are nicely kickin’ softcore eye-candy. When hard work turns into a nightmare and first stripper gets turned into a zombie, we’re jumping on a roller-coaster of better-or-worse ideas, how this will affect the business. As it occurs, nothing makes a better treat than spinning a tragedy into a buck-rolling machine, so when the owner takes the risk of keeping green coming with the brand new bloody zombie strippers show, that leaves the public ravishing – they want the undead chicks BADLY! This however effectively takes the wind off other strippers’ sails, who must jump on the bandwagon in order to keep the job. They work the floor as well, so when one is caught with a customer biting his dick off turning him and next the others into zombies, problems start to pile up. Initially, newly found undead customers are locked in the basement, but soon an orgy of terror will follow bringing justice to greedy fuckwads managing the club and all slut strippers themselves… hell yeah!

"Zombie Strippers" not only provides an overfill of zombies and nudes, but spoofs on all classic genre themes. We even find a homage to gangsploitation classic, "The Warriors" (1979), when one of the undead gals is rattling two bottles singing: "Warriors, come out to playyy-ayy!" So nice and kind of neat indeed. Although this is not the best exploitation revival flick, released recently, it definitely has a classic exploitation call and a lot of minor genre musings with twisted humour glazing on the top. As we might expect, it looks cheap, but not too cheap – something between "Blood Feast II" and "Planet Terror". The movie leaps from gore exploitation to comedy, but overlaps both with a healthy layer of nudity, which keeps it rolling when dialogue lines are getting sloppy (you don’t like nudity, don’t watch it just to complain afterwards). Some intellectual rocks like a scene with a stripper reading Nietzsche might seem blundering, but they don’t really spoil anything mostly drowning in the background in a moment they’re gone. Do you have to watch it? No, you’re not gonna lose anything, but if in the hood why not give it a sneak peek.

Hobo With a Shotgun (2011)

Classic model of marketing and producing exploitation pictures included two things before even first draft of screenplay has been written. They were the title and the poster – however second one started slowly losing it’s ground in the 70’s, when cinematic trailers took over pushing salacious agenda over the edge. This strategy was applied en masse by American International Pictures, who made a real art of feeding drive-in directors with freshly knocked out, shocking, sleazy titles and promptly picking the wind if it was in their favour. The thing is, it really worked for more than 15 years! We got a lot of exploitation shit ONLY DUE TO THIS MARKETING GIMMICK.

When Robert Rodriguez and Quentin Tarantino brainstormed during one of their home cinema sessions after they watched some flicks edited by QT as a double feature with essential trailers filling the gap, they settled on finalizing the Grindhouse project. Two feature movies… with ass-cracking trailers. I personally loved Planet Terror"… a little bit less "Death Proof", but the trailers were definitely the shit! First of these shorts featured cold as steel and quick as F16 – Machete. The other one some random hobo with a shotgun. Response was positive, so the screenplays followed and they both made their way onto the screen. This way history – though not without the help of RR & QT –nicely repeated itself!

It’s all good as this Canadian donut, directed by Jason Eisener, brings back unforgettable Rutger Hauer to the mass audience and gives us one more ball-busting performance. This time he’s a scruffy bum, who gets off the train in a small American town just to find out that this stop will not be as easy going as he would expect. He soon discovers he landed in the lawless heart of darkness, where corrupt cops are at ease with bloody acts of criminality committed by a ruthless local gang – ruled by The Drake and his two sons. Pushing the trolley he eventually gets pushed to the ground by all the scum and doesn’t have any other choice than to take a BIG shotgun and shoot down all motherfuckers. While this is obviously a classic western frame, the movie steps up to a total exploitation revival freak-out sampling and reusing themes from "Django" (1966), "Class 1984" (1982), "Death Wish" (1974) and you name it.



While this might seem easy, for the first half an hour it definitely „grabs you by the boo boo”. Scenes are shot with a sense of style not saying that some of them are genuinely beautiful. I personally like Hauer’s monologue over a newborn with pastel, blue & yellow background and slow, vast camera zoom, joined by music theme a la Vangelis. This is a great homage to "Blade Runner" (or at least it seems so), which makes Hauer’s appearance intertwined with director’s genre picking game. Some other moments carry the same resemblance, all for the great entertainment of ardent genre flicks followers. A violence, blood and language are like sweet chocolate cake here – they are not the additional elements, they are the essence.

However, the basic problem of the movie is a quick plot breakdown and disperse of it’s magic! After main character starts to rumble around with his shotgun trying to bring back the justice to town while local papers print bold headlines and the body count, a story slowly falls behind Hauer’s acting and we start feeling out the bottom. Although screenplay doesn’t seem that bad, quick cut action-action eventually tops itself crumbling into randomly tossed pieces. Loss of vibe and suspense follows, which apart of Rutger Hauer’s creation are initial picture’s strongest sides. Still, let’s not forget it’s a very funny movie with plenty of shitstorm action and it ticks very well as an exploitation revival flick. Although „Hobo With A Shotgun” will not pass as please-fuck-me masterpiece, it’s gonna find it’s audience and could be classified as a good mindscrew for another encounter.

Planet Terror (2007)

In the modern cinema there are only two artists directly responsible for recent exploitation/grindhouse style revival – Quentin Tarantino and Robert Rodriguez, both ardent fans of 70’s tits and guns. While we know very well what Tarantino’s been up to for the last 15 years, we sometimes forget, that he’s brilliant friend and associate has been DOIN’’ HIS OWN THING all this time (Tarantino made sure to sidekick). Strictly nothing else, but pushing agenda to the edge’s limit! What’s his agenda you’ll ask? Bring back home the joy of blood and brains splattering all over with zombies, bikers and chicks DOIN’ THEIR THING. I cannot help to say: Great vision, isn’t it.

"Planet Terror" is a high praise of exploitation Renaissance – intelligent and DEFINITELY predatorial homage to 60’s & 70’s drive-in cinema. Movies like "Night Of The Living Dead", Zombie Holocaust", "Blood Feast" or "I Drink Your Blood" are only couple of flicks which stand right in front of your eyes, when you watch this awesome picture. I sincerely loved Rodriguez’s effort from beginning to the end enjoying the uncut version very, very much. What is here not to enjoy anyway? Stripper character named Cherry with a machine gun leg? Bruce Willis self-parodying his own style of acting? Texas bar owner trying to invent a perfect recipee for a beef barbecue? Toxic zombies eating brains out? For a real exploitation lover I can hardly think of a better treat.



Obviously it watches more like a blockbuster… but it never stormed the box office, when screened with "Death Proof" as a double feature in USA (a homage to B-movie drive-in packages). The reason in my opinion is simple, "Planet Terror" is not just another high budget (boring as fuck) clone, but pure exploitation in it’s essence taken over the top for the fun of it. In this case form is it’s own guardian, thus won’t be appreciated by people, who cannot read it’s correspondences and musings. After all, certain sense of humour is inevitable for watching this picture, without it you’re not gonna get far. Last but not least we cannot undermine cinematography, scenography and aciting in "Planet Terror" – they’re all very tight and themselves call for an applause.

It’s so hilarious indeed when you see Tarantino doing his episodic role. You just start laughing, while a teaser for "Women In Cages" (1971) is played in the background ("Soft flesh for hard cash"). Moments like that make this film a perfect parody – a general proof that two boys had a plenty of fun writing and shooting it. In my eyes "Planet Terror" stands as an example of modern cinema redefining itself one more time and giving at least some people exactly what they want! If you didn’t expect this, then I guess that "Transformers" would be more suitable.

Nollywood phenomenon!

Nollywood to nie nazwa nowego Monte Carlo, ale fantastycznie kwitnącego, nigeryjskiego przemysłu filmowego z centrum w Lagos, w którym produkuje się około 25.000 filmów rocznie z budżetem poniżej $10.000 każdy.

Dużo miejsca zajmuje w Nollywood działka specyficznego horroru, przy którym klasyk blaxploitation "Blacula" wypada bardzo blado. Filmy graniczą z klasą Z i kinem campowym w najtańszym wydaniu, jednak posiadają swój specyficzny, afrykański urok.

This is one of the most important modern exploitation movies, a brand new effect of Nollywood film baking - satanistic slasher "666".









Check the feature in VICE Magazine and dig it some more on YouTube :)

Inglourious Basterds - Tarantino znowu w formie

Tarantino ponownie w formie, to z pewnością pierwsza myśl, jaka została wytworzona w moim mózgu po zakonczonym seansie jego nowego filmu. Nazwany przekornie wobec angielskiej ortografii "Inglourious Basterds", film jest holdem wobec niszowej gałęzi włoskiego "exploitation movie", znanego jako "macaroni combat".

Po raz pierwszy od dłuższego czasu otrzymujemy kino wojenne, które nie gloryfikuje, nie potępia, nie moralizuje, a przede wszystkim ma w dupie to, co zostało uznane za "prawdę historyczna". Skoro prawda umarła, miejmy z niej choć dobra zabawę!

Tarantino w swoim nowym dziele daje nam znać, ze uwielbia odbijać rzeczywistość w krzywym zwierciadle niczym mag mieszajacy ze sobą pomysły Alana Moore'a i Philipa K. Dicka i przyprawiajacy to szczypta komedii.

Akcja filmu dzieje się w ogarnietej II Wojna Swiatowa Francji. Naziści tropią ukrywające sie na wsi resztki Zydow z zamiarem ich calkowitej eksterminacji. Glowny watek zostaje zawiązany, gdy pułkownik Landa z Waffen SS zabija, ukrywajaca sie pod podłogą jednej z chat, rodzinę żydowska pozwalając jednak uciec najmlodszemu z rodzeństwa. Jest rok
1941...

W międzyczasie w Stanach Zjednoczonych, mówiący z przesmiesznym akcentem z Tennessee, porucznik Aldo Raine (Brad Pitt) organizuje pluton żydowskich mscicieli, których zadaniem jest zabijać i skalpowac nazistów na terenie Europy w celu siania totalnego postrachu.

Nadchodzi rok 1944, a grupa Aldo Raine stała sie już do tej pory zmorą niemieckich zolnierzy. W Paryzu tymczasem ocalała z jatki, urzadzonej przes SS, Zydowka imieniem Shosanna kieruje okupacyjnym kinem.

Gdy pewnego dnia zostaje zaczepiona przez niemieckiego snajpera, Federicka Zollera, cała intryga nabiera niespodziewanego kierunku... nie chce jednak psuć zabawy, tym którzy się na film dopiero wybierają!

Nie da się tego filmu oglądać bez wyksztuszenia sporej dawki śmiechu. Są sceny, które mogą rywalizować z powodzeniem z farsą "Wscieklych Psow" i chwyty rodem z "Kill Billa". Ogląda sie bardzo przyjemnie i długiego czasu nawet sie nie czuje. Tarantino po raz kolejny oferuje nam swoją własną wersję rzeczywistości, w której tlo historyczne nie ma znaczenia, dopoki potrafi się docenić dziką fantazje reżysera. Polecam!