Quentin Tarantino's new film 'Django Unchained' is one of the most anticipated of this year!!!

The first official trailer for Quentin Tarantino’s next film, “Django Unchained,” was just released and it’s an all-out hoot. This “Southern,” starring Christopher Waltz, Jamie Foxx and Leonardo DiCaprio, is a tribute to Spaghetti Westerns with enhanced Tarantino splatter.

The trailer opens with Johnny Cash singing Ain’t No Grave (Can Hold My Body Down) from his classic, late American VI album. From the soundtrack and Waltz’s first, arch interaction with Foxx, you know right away that the tone is perfect. In two-and-a-half minutes, Tarantino lays out the story of a slave turned enthusiastic bounty hunter. It seems to have elements of the Fred Williamson’s blaxsploitation parody, “Boss Nigger,” mixed with the light hearted buddy comedy of Mel Brooks’ “Blazing Saddles.”

Here’s the complete synopsis for IMDB:

Set in the South two years before the Civil War, DJANGO UNCHAINED stars Academy Award

®

-winner Jamie Foxx as Django, a slave whose brutal history with his former owners lands him face-to-face with German-born bounty hunter Dr. King Schultz (Academy Award®-winner Christoph Waltz). Schultz is on the trail of the murderous Brittle brothers, and only Django can lead him to his bounty. The unorthodox Schultz acquires Django with a promise to free him upon the capture of the Brittles dead or alive.

Success leads Schultz to free Django, though the two men choose not to go their separate ways. Instead, Schultz seeks out the Souths most wanted criminals with Django by his side. Honing vital hunting skills, Django remains focused on one goal: finding and rescuing Broomhilda (Kerry Washington), the wife he lost to the slave trade long ago.

Django and Schultzs search ultimately leads them to Calvin Candie (Academy Award®-nominee Leonardo DiCaprio), the proprietor of Candyland, an infamous plantation. Exploring the compound under false pretenses, Django and Schultz arouse the suspicion of Stephen (Academy Award®-nominee Samuel L. Jackson), Candies trusted house slave. Their moves are marked, and a treacherous organization closes in on them. If Django and Schultz are to escape with Broomhilda, they must choose between independence and solidarity, between sacrifice and survival

Foxx plays the title character, his name an homage to “Django,” the 1966 Italian-made Western directed by Sergio Corbucci. In an inside aside, the trailer shows Foxx telling his name to a mysterious stranger, who turns out to be none other than Franco Nero, who plays Django in the original movie. “My name is Django.” Foxx says “The ‘D’ is silent.”

(Forbes) http://www.forbes.co...lazing-saddles/

I cannot wait to see Waltz and DiCaprio OWN this!!!! DiCaprio playing a Tarantino villain, oh my :wub2: :wub2: :wub2: :wub2:

My heart almost can't take it! Lol

WeeeHOOO! I can't wait :dance: DiCaprio as a villian is gonna be awesome

Agreed! Hi Katchitup

This is awesome!

can't wait !

waiting for next trailer :dance:

Very excited for this one! can't wait for more trailers and tv spots to be released, I'm really hoping we'll get more footage of Calvin Candie as I was kind of disappointed with his lack of presence in the trailer (though I know he's not one of the "main" characters).

Trailer #2

I knew I wanted to see this the moment I saw Christoph Waltz.

Christoph Waltz is SO underrated it's not even funny.

Leonardo Dicaprio as Calvin Candie. Holey Badassness.

http://supermodelgif.tumblr.com

some gifs I requested! he looks freaking amazing

It received 5 GG noms....Reviews have been stellar so far as well :dance:

• 
  
  • Best motion picture, drama
    
  • Best director, Quentin Tarantino
    
  • Best supporting actor, Leonardo DiCaprio
    
  • Best supporting actor, Christoph Waltz
    
  • Best screenplay
    

The first issue (out of 6) of the official 'Django unchained' comic has been floated online. Apparently, this comic is a rendition of the original DU story before it was changed into a different version. Not knowing anything about the film or the book, I checked it out and found it composed of hilarious black (...) :dance: humor, dialogue, and high quality artwork. The purest form of satire, just like "Inglorious Basterds". The southern racists are the villians, and portrayed as sickedly sick caricatures just like the Nazis in IB were. Borderline offensive, but a glimpse into a world that was once real.

Here's a sample (Warning, N word is used):

The movie now has my interest.... +It has been doing very good with reviews.

gawker.com:

The Django Moment; or, When Should White People Laugh in Django Unchained?

*Beware some SPOILERS in this piece*

To paraphrase Oprah, call it a "Django Moment." This is the moment when, while watching Quentin Tarantino's campy new slave-revenge movie, a person of color begins to feel uncomfortable with the way white people around them are laughing at the horrors onscreen. Though the film from which it stems has only been in wide release for less than 48 hours, if what I've heard in private conversations is correct, the Django Moment is already a fairly widespread phenomenon.

My personal Django Moment came when an Australian slaver, played by Tarantino himself, haphazardly threw a bag full of dynamite into a cage of captive blacks before mocking their very real fear that they might be exploded to nothingness. A white man behind me let out a quick trumpet blast of a guffaw, and then fell silent. My face got hot, and my nephew, who was sitting at my right, shifted uncomfortably in his seat. Throughout the film, I'd laughed along with everyone in the theater as a lynch mob of bumbling rednecks planned to slaughter the "fancypants nigger" Django, and when the villainous house slave Stephen, played pitch perfectly by Samuel L. Jackson, limped dumbly around his master's plantation, kowtowing to every absurd demand with an acerbic and foulmouthed loyalty. But for whatever reason, the dynamite in the slave cage was a bridge too far for me. What the fuck is he laughing at? I thought, and just like that, the theater went from a place of communal revelry to a battleground.

Just so we're clear, I really liked Django Unchained, and there's probably no other movie I'll discuss more with my friends—and friends of friends—over dinner in the coming months. I also don't think it's important for everyone in the world to have the same opinions about what is and isn't funny. God forbid, for instance, that Seth MacFarlane were forever allowed to be the one and only arbiter of comedy in the United States. Nevertheless, as Tarantino's latest continues making its bloody cultural ascent, it seems more important to recognize the difference in audience reactions to Django Unchained more so than, say, the difference in audience reactions to Love Actually.

Dave Chappelle once said that the impetus for him walking away from his hugely successful Comedy Central show was an incident in which he felt like a white employee was laughing maliciously at one of his more racially steeped sketches. "omebody on the set [who] was white laughed in such a way—I know the difference of people laughing with me and people laughing at me—and it was the first time I had ever gotten a laugh that I was uncomfortable with," Chappelle told Oprah months after he'd quit the show. "Not just uncomfortable, but like, should I fire this person?"

Today, Django Unchained has me considering, like Chappelle did years ago, what exactly white people are taking away from a film in which a subject like slavery is treated with such whimsy and humor. Was my Django Moment just me being too touchy? And beyond that, did my tittering at some of Django's brutality or Samuel L. Jackson's pathetic moaning cause someone else, black or white, to feel awkward?

Relentless and over-the-top violence is a hallmark in most of Tarantino's work, but in Django Unchained, the gore seems different from the director's previous efforts. There is a wide gulf, for instance, between the ultra-bloody kung-fu fights from Kill Bill and the Django scene in which a pack of wild dogs tears apart a defenseless runaway slave. Also difficult to watch is Django's wife, Broomhilda, being whipped for attempting to escape her plantation, and then being branded on the face. Even Tarantino's other recent take on monstrous ethnic oppression, the WWII drama Inglorious Basterds, had but one scene—the tense opener—that rivaled the hideousness of Django's ugliest moments, made all the uglier because they actually happened.

Considering that some of the real-life, well-documented tortures inflicted upon nonfictional slaves were much worse than the ones shown in Django Unchained, it's almost impossible to not feel self-conscious when Tarantino asks you to rapidly fluctuate between laughing at the ridiculousness of Django's characters and falling silent with shame at the film's authentic historical traumas. It's in this disunity that the Django Moments arise. One moment you're laughing at Mr. Stonesipher's unintelligible bumpkin drawl; next you're wincing as Stonesipher's hounds shred a man limb from limb. (In my theater, one man in front of me scrambled out during this scene and only returned when it was over.) You smile as plantation owner Big Daddy attempts to figure out how to treat a free black man better than a slave but worse than a white person, but then you grimace while watching the vicious slave master Calvin Candie exalt phrenology, the bullshit pseudoscience many racists continue to cite as "proof" that blacks are biologically inferior to whites. And since Django runs close to three hours long, at a certain point you start to catch yourself laughing where you shouldn't or—worse, even—hearing others laughing at something you don't find funny at all. Eventually, you begin to wonder if you're being too sensitive, or if the movie and everyone else around you are insensitive. Then you start to consider whether any of that even matters.

The tradition of gleaning strength from self-deprecation and gallows humor is prevalent in oppressed cultures. Be it Jews or blacks or gays, there is comfort to be found in picking at your own failings and defeats before others get the chance. But Django Unchained inverts the tradition throughout the film: Tarantino is white, and there are few laughs to be had from seeing slaves tortured over and over again. Beyond that, black viewers are themselves offered times to provide their own Django Moments, such as when I cracked up after Django blasts Calvin Candie's feeble, widowed sister in the guts with a revolver, sending her flying out of the frame, or when, directly in earshot of my nephew's white high school classmate, I giggled at Django saying his dream job was to get paid to kill white people.

After watching Django slaughter every white person in sight, I felt strange as I exited the theater alongside the rest of the mostly white audience. I wanted to pick out the dude who had laughed at the dynamite in the slave cage, but I also hoped nobody had been too put-off by my delight at an unarmed white woman getting more or less executed. Still, the unease I felt walking out was probably my favorite part of Django Unchained: On the one hand, you're unsettled by the behavior of the characters in the film; on the other, you're also unsettled by how you and everyone else in the theater reacted to those characters. Were you laughing with the movie, or was the movie laughing at you?

Pasting my review of the film from leos thread..

My opinions on the film..

first thing, Leonardo really stole the show. his scenes were very intense, and very sadistic, and almost kinda funny in a sick way. Definetly one of leos best performances. I was a little upset though because some of the scenes from the trailers of calvin were cut from the movie, so that kinda sucked. But the scenes leo did have were great! And that whole scene you've all heard about where leo cut his hand...pure. oscar. gold.

The film itself: Very entertaining.it was nice to watch, and one of the better films I've seen in a while. I don't quite see where its getting best picture nods....but I'd definetly like to see it again. The film was quite brutal and violent (very much tarontino style) And the film was actually quite funny...I remember a few times where the whole audiance burst out loud with laughter. And Waltz did a very, very nice job as well, I'm happy hes getting praise for the role as well, cause he was great!

So overview: Leo scenes were awesome, one of his best performances, I hope he gets that oscar nod. And the movie itself, quite entertaining (even if you don't like westerns, which some people don't, this movie is still enjoyable)

I saw about 1:20 or so of the 2:45 running time (via CAM) and got through the key scenes of the film. I'm going to watch it again, but I'll wait until a better copy appears.

As I've seen: It's a good, original adventure story that follows IB's sort of style, and Jackson made the standout performance as the ratbag 'Uncle Tom' character. Watch it..

^Samuel was fantastic! All the supporting characters really made the movie (waltz, dicaprio, jackson, johnson)

You know Lindsey, I saw only half but (tentatively), so I'd say that all the key characters (Waltz, Dicaprio, Foxx, Jackson) did well for a Tarantino-style movie. In my view, Pulp Fiction was his best movie, and DU's actors rank with them. This main cast is cleaner than IB (which featured some bad acting, including Brad Pitt (probably the worst acting I've ever seen him in)).

Thinking about it again, I'd say that this movie was more story-like and serious than IB/Pulp Fiction, and could have had a more realistic casting decision. It's hard for me to say exactly, because the director has to straddle between a cartoonish world (which IB and PF certainly was) and a historically accurate depiction of the pre-13th amendment South (the film wasn't, of course, but it often pretended to be) and the actors/roles seemed a bit too cartoonish for the setting that was created.. For one, the main characters were too meticulously clean and dressed, while everybody else looked dirtier and uglier, and more fitting..

And I think, for instance, that Waltz as the 'German' bounty hunter was unnecessary- Waltz is a good actor, but I think that the film would have flowed better if an American actor was casted as the 'American bounty hunter' and more of a background story was built up for him.

Jamie Foxx did a good job, but honestly...he was too articulate and modern for an illiterate or near-illiterate slave of that time period & I couldn't help but feel a little awkward at hearing some of his lines. (uses big words and complex turns of phrase, etc.) Yea, I know that I should suspend disbelief, but at the same time, the director does aim to craft a believable world to some degree and it didn't fully match...

I think Dicarprio did the best he could (considering, lol, how he cut his hand in the actual film and continued acting..), and was compelling on screen. But personally, I've seen too many films where he's the good guy and there's a bit of type-casted residual memories going on...As far as evil slave owner goes, he is too much of a pretty man with playful words, and when he turns evil or does evil things, it doesn't fully jive with me.

My image of 'Candy' and of the sadistic Southern plantation owner would be that of someone who looked more like this (I have nothing against Stonewall, he was a product of his time..), and with the aura of the stereotypical rural small business man (or oilman) of the 1850s- paternalistic can hustle, can make money, tough and violent in speech but with uneven literacy and bottom pit cultural development...He would have these tendencies corrupted, perverted, and writ large.

^See I actually loved that Waltz, the bounty hunter, was german. I thought it fit well with the story line, and I think Waltz is a fantastic actor And I think Jamie wasn't that great (he wasn't terrible either, but I found his scenes weren't riveting or very entertaining) as well as Kerry Washington. She was ehh.

And I can see where your coming from with Dicaprio Seeing him as the pretty boy, good guy all his films, then turned into an evil racist is a little hard to grasp. But I thought his scenes were among the best in the film (the full dinner scene with the anatomey of a skull, and him slicing his hand open? That was pure Oscar gold ) Also add Jonah Hills whole scene was classic, I about died laughing

I agree, Pulp Fiction was tarontinos best, and maybe its just me, but I can't quite see where its getting best picture nods. I thought it was a really entertaining movie (would love to see it again and get a different take on it) but best picture? I don't know

Come to think of it, 'Big Daddy' the slave owner is clearly inspired by Colonel Sanders...

Django Unchained was a spaghetti western so I automatically knew it was going to be "cartoonish".

I will not lie, if I had to listen to Jamie Foxx talk in a deep southern slave accent, it would have drove me up the fucking wall. It would have taken me out of the movie. Pupl fiction is one of my favorite movies from this director but I loved Django Unchained. It was what it was supposed to be. A parody of the antebellum South.

When I want realism in a movie, I don't go watch Tarantino film. I would have seen Lincoln