“No matter how much extreme contextualization and heavily stylized techniques Quentin Tarantino [uses] in Inglorious Basterds, it feels like a bubblegum sidedish to the heavy dinner plate of his career,” says Indiewire‘s Eric Kohn.
“Despite a World War II setting, Inglorious Basterds mainly feels like an homage to crime and thriller movies, using Nazis as cardboard villains in a facile manner akin to the Indiana Jones franchise.
“As the story [builds] into an espionage drama, Tarantino churns out the most conventional accomplishment of his career, Jackie Brown included. Sure, you can tear apart the layers of references to countless genres from multiple eras, but not with the same relish allowed by Kill Bill or Pulp Fiction, where reading into the text and digging its natural flow were not mutually exclusive.
“That’s hardly the case here. To watch Basterds without considering Tarantino’s implementation of enyclopedic movie knowledge makes it into a breezy, insignificant experience. Basterds is a talk-fest. Anyone familiar with the Tarantino touch will testify that the director likes to make his characters talk and talk and talk — and sometimes so that it ends up absorbing the spotlight. In Basterds we see the worst side-effects of this tendency.”