It is true that, as happens in all platforms of streaming, Netflix has very good movies, others decent and the rest little or not recommended at all. Today you are in luck, because We are going to recover a film from 2009 that is in that first group of those chosen for gloryalso considered one of the best war films in the history of cinema.
She was nominated for 8 Oscars and, as the statement says, For many it is the film with the best opening scene in the history of cinema. But we are not facing one of those cases of films that start on a high and then plummet. On the contrary.
In fact, if the good guy knows anything Quentin Tarantino is to maintain our interest thanks to that such a particular style that he has known how to print in each of his, for the moment, 9 films (remember that ‘The Movie Critic’ will no longer be Quentin Tarantino’s tenth and last film).
As you probably already know, ‘Damn bastards’which you can enjoy in Netflix, takes us to German-occupied France. There, Shosanna Dreyfus witnesses the execution of her family on the orders of Colonel Hans Landa.
Elsewhere in Europe, Lieutenant Aldo Raine trains a group of Jewish soldiers to carry out a mission to bring down the leaders of the Third Reich. Will they be able to change the course of history as we know it?
Starring Brad Pitt, Mélanie Laurent, Diane Kruger and Michael Fassbender (too bad that Adam Sandler couldn’t finally appear in ‘Inglourious Basterds’), Tarantino’s sixth film allowed us to discover the great Christoph Waltz (winner of the Oscar for Best Supporting Actor for this role) in the role of Colonel Hans Landa, one of the best villains in film history. To the point that the director himself recognizes that the character of Hans Landa is the best he has created in his entire career.
It is certainly impossible to forget the opening sequence of the film, one of the most tense and shocking in the history of cinema. In it, Waltz would show off with his Hans Landa during the visit to Monsieur Lapadite’s farm (Denis Menochet) and in which, after tasting a glass of the milk produced by the cows on his farm, he finds out where he is hiding a family of Jews.
And, bringing to our reality one of the phrases of Aldo Raine’s character (a hilarious Brad Pitt) in what is also one of the best endings in the history of cinema, this “could be the masterpiece” of its brand new director. We can not agree more.
Jorge is an expert in movies, series and comics. His favorite genres are horror and science fiction, the perfect balance between the thunderous scream of the slasher and the disturbing silence of space and, although he flirts with auteur cinema in search of that hidden gem far from the mainstream, he does not hide, His thing is commercial cinema from Marvel, Star Wars, DC and Pixar.
This restless journalist discovered the mysticism of ‘Twin Peaks’ a few years ago and, since then, it has been just another concept trapped inside David Lynch’s head. When he manages to escape from the Black Lodge, he revisits the filmography of the master Carpenter, loses himself again between the pages of Moore and Gibbons’ ‘Watchmen’ or sets out in search of new emotions in miniseries format.
After his brief stint in media such as TVE, RNE and the TV and communication section of La Razón, Jorge has spent more than a decade in the delirious world of advertising agencies, where he has had the opportunity to be part of various communication teams. which have allowed him to participate in soirees, events, junkets and various efforts with performers of the stature of Antonio de la Torre, Jared Harris, Kim Dickens, Colman Domingo and Christina Hendricks. He arrived at FOTOGRAMAS in 2022, where he managed to carve out a niche as an editor to write about the most popular series, the best Alfred Hitchcock films or everything related to franchises, reboots, prequels, sequels, sequels and various nonsense of the moment, returning from This forms his passion for journalism and cinema.
Jorge has a degree in journalism from the Complutense University of Madrid, in addition to being a director from the RTVE Institute, where he acquired notions of pre-production, production and post-production of audiovisuals.
