#Roth Kruger.

[hellcab]

Honestly, Roth spends most holidays alone. Just him, eating a microwaved diner, while watching a holiday-appropriate film.

Just alone. Isolated and his personality inverted. He’s alone because he hates himself. Self-harm through isolation.

[gunslinginnhogtyin]

📏 + 6’0”

Send me 📏 (ruler) + your muses height and I'll compare them to mine! // @hellcab

“Sheesh! D’ya gotta duck when y’climb int’ that yellow box machine?” He’s… probably talking about the taxi the man drives. The concept of cars is still brand new to him!

“I’ll betcha can grab everythin’ from th’ top cabinets, can’t ya?”

[hellcab]

@the-expatriate

Antique 1920's Rat Perfume Figural Bottle from Germany ebay Diane's Clearinghouse

[filmreveries]

Inglourious Basterds (2009) dir. Quentin Tarantino

[4ndj4]

I wanna see this isgsnsdkjxbshdjd

[laurentcarbonelle]

Inglorious Basterds (2009) Directed by Quentin Tarantino. Alternative movie poster by Laurent Carbonelle.

https://instagram.com/laurentcarbonelle

[hellcab]

@themosthatedbeing

I think if the devil doesn't exist, then man has created him. He has created him in his own image and likeness.

Fyodor Dostoevsky, The Brothers Karamazov

[supercalifragipopculturevomit]

Quentin Tarantino with the cast of Inglorious Basterds.

[hellcab]

"Happy Thanksgiving. Now, if you excuse me several microwave turkey diners await me. That and also, a recording of Super Bowl XXVII."

[erstwhile-punk-guerito]

[hellcab]

{{ If only Roth's relationship was like that with The Yellow King. }}

Another pic for @croik somewhat set in the Entangled series universe. I’ve always really loved the King in Yellow as a character fromt eh Lovecraft mythos, but Malevolent, and these fics in particular elevated him to blorbo status.

[adamwatchesmovies]

Inglourious Basterds (2009)

Quentin Tarantino’s Inglourious Basterds will either unleash a deluge of questions about morals and ethics (probably intentionally) or allow you to revel in trashy revenge fantasies while sitting through a story that’s full of finely-written dialogue, unpredictable turns and excellent performances. I strongly suspect the film isn't supposed to be scrutinized, that its only purpose is to be a “leave your brain at the door and enjoy the carnage” kind of film but the skill involved in its creation compels you to look deeper. There are many great scenes and some spectacular performances within the picture, which makes it a surprise that ultimately, the final product is less than the sum of its parts.

In 1944, Lieutenant Aldo Raine (Brad Pitt) assembles a paramilitary unit designed to spread terror among Nazi troops. The Basterds are to murder, disfigure and torture any enemy soldiers they find but must also let some live to grow their reputation. A year later, the Basterds are recruited to infiltrate a film premiere in Nazi-occupied France where several high-ranking German officers will be attending. The theater is owned by Shosanna Dreyfus (Mélanie Laurent), a Jewish woman living in Paris under a fake name. She seeks revenge against the same Nazis the Basterds are targeting, particularly SS-Standartenführer Hans Landa (Christoph Waltz).

Inglourious Basterds is two movies that briefly converge but are otherwise independent of each other. The problem is that these two stories are nearly opposites tonally. The Basterds’ story is a violent, comedic cartoon. Shosanna’s story contains real drama. Both are revenge fantasies but of a completely different kind.

It’s hard to tell what message we’re supposed to draw from the film. An opening speech by Raine reminds us that despite the way they act and look, every German soldier is not a person. They are simply pieces of Hitler’s grand machine. The more violent, and brutal their death the better. We never see concentration camps. They are never even mentioned. The Third Reich’s armies are shown killing Jews but only via machine guns. The murders they commit are no more brutal than those committed by the Basterds but we’re not supposed to see the Jewish-American soldiers as bad - even though they torture and mutilate people who beg for their lives - because the people they are killing are “not people”. It’s difficult to wrap your head around the idea because the performances are so good, and the violence so impactful.

This is the kind of film that could’ve used a couple of baddies with eyepatches and mechanical legs rather than the excellent lookalikes of Sylvester Groth (Joseph Goebbels), Adolf Hitler (Martin Wuttke) and Emil Jannings (Hilmar Eichhorn). The message seems to be that compassion and mercy have no place in the world and that they’re likely to get you killed. Should the excuse of “I was just following orders” exempt you from punishment? Tarantino says “Maybe - unless you're a Nazi". At the very least, you must admire him for committing fully to his message.

Whether or not you're turned off by the story’s brutality, there’s no denying what Inglourious Basterds does well. There are so many good scenes the package is worth seeing even if it will offend and appall you. Tarantino holds the tension and then slowly stretches it until you can practically smell the perspiration dominating the room. The dialogue is so good you can’t wait to hear what’s next and you wouldn’t miss a word for all the stolen Nazi gold in the world. The plot’s completely unpredictable and the performances are incredible. Christoph Waltz, in particular, blows you away. You should hate his character. He’s a terrible human being but he’s so smooth the atrocities he commits seem to evaporate from your memory the second he opens his mouth.

Inglourious Basterds is not a classy story but it’s made with such expertise that the mud it’s wading through looks like it came from the spa. It’s deeply knowledgeable about film history and if you are as well, you should see it. Every glimpse we get of Stolz der Nation (Nation's Pride) is perfect to a tee. Would it have been a better film if it had been separated into two? Unfortunately, I believe so. With the conclusion the way it is, the more interesting story - that of Shoshanna - is made redundant, even pointless by the actions of the Basterds. The upside is that you have no clue where it's headed until you get there.

Although I think Inglourious Basterds is a one-and-done for me, I'd be curious to see how a second viewing might go. It really is one of those movies that forces you to react strongly toward it. (May 1, 2020)

[princessofthemoooon]

[hellcab]

@distantpagesandpapercuts / @starstruckxstray / @nebula-gaster / @lcftcult

This is literally Roth.

[redpool]

What's your most favorite movie you've ever watched?

I don't think i have any favourites but the ones that i rewatch the most/ for comfort.

both of the Boondock Saint's movies (specifically the first one but i can't watch one without the other so...)

John Doe: Vigilante (yeah i know this one is a little weird to be a comfort film but i really like it. probably from the lack of good Australian movies, or maybe because i love Jamie)

the first half of Inglorious Basterds (just now realizing that Diane has been in my life longer than I've even known who Norman is, i started watching TWD after season 7 was just released, I've had this exact poster on my wall for a very long time) ((IB come out in 2009, i watched it in about 2014 and season 7 came out in 2016-17))

and Avengement (love me some Scott Adkins)