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Django Unchained (DVD + UV Copy) DVD

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Django Unchained, Quentin Tarantino's 2012 gritty spaghetti Western tribute, accumulated several awards and nominations in the 2012-2013 awards season including Golden Globe and Oscar nominations for Best Film.

The film is set in 1858 among the slave plantations of pre-civil war America. It follows the story of Django (Jamie Foxx), a slave whose freedom is bought by a German dentist Schultz (Christoph Waltz), now a bounty hunter, with the intention of training him up as his deputy. After helping Schultz find some men he was hunting for, Django decides to search for and rescue his wife, Broomhilda (Kerry Washington), who was sold to the villainous Calvin Candie (Leonardo DiCaprio) an evil, sadistic plantation owner in Mississippi.

Schultz promises Django he will help him to save his wife and the two work together and devise an infallible strategy to get her back. The result is an outrageously graphic revenge western jam packed with fast action, epic gunfights, humour, violence and brutality while focussing on teamwork, relationships and controversial issues. This is Tarantino on absolute top form!

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Please note this is a region 2 DVD and will require a region 2 or region free DVD player in order to play Django is a freed slave who under the tutelage of a German bounty hunter becomes a bad-ass bounty hunter himself After taking down some bad guys for profit they track down Django&39;s slave wife and liberate her from an evil plantation owner Actors Leonardo DiCaprio Jonah Hill Samuel L Jackson Christoph Waltz Jamie Foxx Kerry Washington Zoe Bell Amber Tamblyn James Remar Walton Goggins Don Johnson Bruce Dern Robert Carradine Franco Nero & James Russo Director Quentin Tarantino Certificate 18 years and over Year 2012 Screen 2401 Anamorphic Languages English Subtitles English ; English for the hearing impaired ; Catalan ; Hindi ; Spanish Closed Captions Yes Duration 2 hours and 39 minutes (approx)

Quentin Tarantino directs this Academy Award-winning western starring Jamie Foxx as a freed slave who sets out to rescue his wife from a merciless plantation owner. Django (Foxx), a slave with a violent past, earns the favour of bounty hunter Dr. King Schultz (Cristoph Waltz) when he helps him kill a trio of infamous murderers. Schultz frees Django and begins training him as a fully-fledged bounty hunter. The pair enjoy further success tackling some of the American South's most troublesome criminals, but Schultz gradually becomes aware that Django has motivations beyond earning a reward - Django has been searching for his wife, Broomhilda (Kerry Washington). When the duo discover that she is enslaved to the ruthless Calvin Caddie (Leonardo DiCaprio) they begin hatching a plan for her rescue. However, with Caddie's employees numbering the vigilant Stephen (Samuel L. Jackson) and mindful bodyguard Butch (James Remar), it may well be the pair's biggest challenge yet. Christoph Waltz won the Academy Award, a Golden Globe and a BAFTA for his supporting performance, while Tarantino won the Academy Award, a Golden Globe and a BAFTA for his original screenplay.

  • Average Rating for Django Unchained (DVD + UV Copy) - 5 out of 5


    (based on 3 user reviews)
  • Django Unchained (DVD + UV Copy)
    Ravi Nijjar

    Ignore the controversy around Django Unchained. When Quentin Tarantino's latest movie was released in cinemas earlier this year, it was beset by claims that it was too violent, that it made repeated and unnecessary use of offensive racial epithets, and that it treated slavery in a cartoonish and overly light manner.

    Out of context, these might sound like legitimate complaints. But when you see how Django Unchained comes together, and how all these elements are utilised within the tapestry of Tarantino's excellent revenge/western/romance/action movie, your reaction isn't likely to be one of disgust. It's likely to be one of awe.

    Because Django Unchained proves to be Tarantino's most awesome movie yet, in the truest sense of the word. Bringing together some of the grand themes that he's explored in past movies (revenge, racial politics, cruelty, and the way in which cycles of violence and abuse perpetuate themselves), he couples these big ideas with a fantastic cast (including the barely-repressed anger of Jamie Foxx in the title role, as well as the cool, calm, intelligent and gentle heroism of Christoph Waltz as bounty hunter King Schultz) and some utterly beautiful and captivating - literally, awe-inspiring - shots of American landscapes (courtesy of expert cinematographer Robert Richardson) that wouldn't feel out of place in a John Ford western.

    Yes, in case you weren't aware, this is a western. Tarantino has dabbled in plenty of different genres before (crime flicks, heist movies, WWII yarns, gory horror movies and oriental-style kung fu to name but a few), but with the classic American genre of the western he might have found his best fit yet. Because westerns allow for everything that Tarantino is good at: distinctive, outlandish characters, bloody battles with life-or-death stakes, and plenty of downtime in-between for some of that trademark Tarantino dialogue.

    The plot itself is actually reasonably thin, despite the movie's 165-minute running time: a freed slave (Django) teams up with a morally-sound bounty hunter (Schultz) to rescue Django's wife from a brutal and vindictive ranch owner (Calvin Candie, played with uncharacteristic nastiness in a wonderfully cast-against-type performance from Leonardo DiCaprio). But within this simple framework there's plenty of subtlety and sophistication that might go over the heads of those who are determined to peg Tarantino as a filmmaker who peddles simplistic fare designed solely to appeal to base instincts.

    Notably, Tarantino really ramps up the exploitation-style elements of the movie (particularly with the inclusion of vicious Mandingo fighting - a despicable "sport" in which slaves must fight each other to the death), thus encouraging audiences to hate Candie for enjoying the gruesome game. However, this occurs at the same time as we're thoroughly enjoying being treated to bloody shootouts and revenge killings for our own viewing pleasure.

    As an audience, we're being asked to place all of our sympathy with Django, a character who has been abused by exactly the kind of people who enjoy Mandingo fighting. But at the same time, we're paying our money to be dazzled by increasingly violent spectacle (filled with the kind of action-packed, intricately-staged shootouts that Tarantino is so good at).

    In this way, Tarantino is daring to ask whether his audiences are just as morally compromised as Samuel L Jackson's character in this movie: the head-of-household, Stephen, a deceitful and hateful person who's function is essentially that of a race-traitor who has defected to serve the very people who have abused him. Is our lust for cinematic bloodshed evidence that we're guilty of sharing the same base instincts that we condemn when we side with Django? Or is the audience's sympathy for Django just a thin facade that we accept in order to let the story play out in the bloodiest, most satisfying way possible?

    If it sounds like I'm getting a bit heavy, don't let that colour your opinion of the movie too much, as these questions are really only vaguely implied by the movie. And alongside the more serious stuff, Tarantino is able to work in some inspired moments of humour and lightness - including a ridiculously garish costume-change for Django halfway through the film that's oddly reminiscent of Austin Powers, as well as an extended comedy skit based around KKK masks that's one of the funniest things I've ever seen in a cinema.

    And, as with all the best films, the movie's real heart and soul is found in its characters. Even more so than Django's yearning for his captured and abused wife, the central relationship in the story turns out to be the mutual friendship between Django and Schultz.

    Smaller scenes - such as the campfire chat in which Schultz relates a curiously pertinent German folk tale to Django, or the beautifully-shot sequence in which Schultz teaches Django how to shoot during the winter by taking aim at snowmen - really help to flesh out the rapport between the two, more than justifying the luxurious running time (although a minute or two could definitely have been shaved off by dropping Tarantino's ill-advised cameo, complete with a baffling Australian accent).

    The final point that I wanted to raise about this movie is a more personal one, but still one that might ring true for some people reading this review, as it revolves around the paucity of non-white action leads in Hollywood films today. It might seem staggering to say it, but Foxx's Django is one of the few non-white characters that (as a non-white viewer myself) I've found genuinely inspiring and cool, and it's one that I hope opens the door for a more colourblind approach among casting directors in future.

    Amid an apparently endless sea of bland, caucasian lead actors, Tarantino is one of the few Hollywood directors who has been brave enough to cast non-white A-list actors like Foxx (and in Jackie Brown, Pam Grier) to spearhead his movies, and in Django Unchained he goes one better and couples this with a story that explicitly addresses head-on the kind of racial issues that it seems that the film industry would often rather ignore. How anyone can accuse Tarantino of racism on the strength of this thoughtful, considered - but above all, entertaining - movie is beyond me.

    Ravi Nijjar

  • Django Unchained (DVD + UV Copy)
    Kashif Ahmed

    A return to form by Quentin Tarantino, who rides into town guns blazing with an epic, slave-trade era Western that sees freed slave Django (Jamie Foxx) team up with eccentric German bounty hunter Dr. King Shultz (Christoph Waltz) to rescue his wife (Kerry Washington) from the clutches of Southern slave trader Calvin Candie (Leonardo DiCaprio) and cunning Uncle Tom; Stephen (Samuel L. Jackson).

    Tarantino's last film was the entertaining but somewhat below par 'Inglorious Basterds' and fans were beginning to wonder whether the controversial director's best days were behind him, 'Django Unchained' proves those fears were unfounded and hits the mark more often than it misses: A straight shooting, expectedly brutal journey through the American badlands; the first hour focuses on Django and Dr. Shultz's violent misadventures hunting down criminals. Act II sees the duo down in Mississippi to infiltrate notorious slave plantation 'Candieland' en route to a bullet ridden, blood soaked finale.

    Now as with every Tarantino film, there are nods to all the movies that inspired him, so look out for references to Fred Williamson's 'The Black Bounty Hunter', Jacopetti & Prosperi's 'Goodbye Uncle Tom', Takeshi Mike's 'Sukiyaki Western Django' and, of course, Sergio Corbucci's 'Django' (1966).

    The movie itself is a little too long at 2 hours 45 minutes but its very well paced and every scene serves a purpose. There's plenty of action and black humour throughout and I'm glad Quentin's gone back to using some original songs on the soundtrack as opposed to the distracting use of music from other films, which annoyed me no end in 'Inglorious Basterds'. For Tarantino's always had an ear for what songs work best where, so much so, that audiences tend to associate the song with the scene long after they've seen the movie e.g. Urge Overkill's 'Girl, You'll be a Woman Soon' will always conjure up the image of Uma Thurman dancing around her living room before finding that bag of drugs in 'Pulp Fiction', Bobby Womack's 'Across A 110th Street' will forever be the theme to which Pam Grier's Jackie Brown walks through the airport and no matter where I hear it, Steeler's Wheel's 'Stuck in the Middle With You' will never divorce itself from Michael Madsen's Mr Blonde shuffling around that warehouse with a cut-throat razor in 'Reservoir Dogs'. Django Unchained's soundtrack is as good as any in the Tarantino back catalogue with Franco Micalizzi's 'They Call Me Trinity', Luis Bacalov's Elvis Presley style ballad 'Django', Jim Croce's 'I Got A Name' and John Legend's 'Who Did That To You?' as stand outs.

    The cast are excellent: Christoph Waltz plays Dr. King Shultz with just the right blend of wit, charm and an air of disdain for the appalling racism he sees around him. Jamie Foxx is a cool and understated hero: wearing Sharon Stone's shades from 'The Quick And The Dead' and Michael Landon's green shirt from 'Bonanza', he's every inch the classic gunslinger on a mission to set right some wrongs. Leonardo DiCaprio turns in another impressive performance as bourgeois sadist Calvin Candie but its Samuel L. Jackson who very nearly steals the show as Candie's menacing but smarmy stooge; Stephen. Samuel L. Jackson hasn't made a good film in over five years (2008's 'Lakeview Terrance') so its great to see him put in a memorable performance that really makes you hate his character and more so the system that produced such an odious individual. This is a powerhouse performance that's up there with his take on Ordell Robbie in 'Jackie Brown' and though not quite on a par with Jules Winnfield in 'Pulp Fiction', still ranks as one of his best roles.

    Hollywood and the American establishment don't like to discuss slavery for obvious reasons, which is why so few films have been made about the era. 'Django Unchained' doesn't go into the gory details or even begin to cover all the issues relating to the slave trade. For that, I'd advise reading Alex Haley's 'Roots', Louis Farrakhan's 'The Secret Relationship Between Blacks and Jews' and Walter White Jr.'s heavily suppressed treatise 'Who Bought The Slaves to America?' but if you want to see Jamie Foxx battle some KKK henchmen and utter a couple of amusing one-liners, then this is the film for you. A must for Tarantino fans.

  • Django Unchained (DVD + UV Copy)
    Kevin Stanley

    Available from May 20th 2013 on DVD and Blu-ray, Django Unchained has to be high on the list of contenders for top release of the month, and possibly the entire year.

    Django (Jamie Foxx) wins his freedom from slavery when bounty hunter Dr. King Schultz (Christoph Waltz), in need of vital information about his next targets, frees Django from his 'owners' in order to deputise him, before the pair face off against Mr Candie (Leonardo DiCaprio) in order to attempt the rescue of Django's enslaved wife, Broomhilda (Kerry Washington), who had also been sold into slavery.

    Until now Kill Bill was Tarantino's premier uber-vengeance movie, so soaked in blood were the Bride's hands that they could have turned the multitudinous seas incarnadine, but now Kill Bill has been surpassed -perhaps not in blood and body count but certainly in movie-craft and story-telling.Once again this is a tale of vengeance but this is Tarantino's homage to the classic Western rather than a love letter to classic Kung Fu movies. However unlike Kill Bill, that Tarantino failed to bury in one outing, deciding instead to indulge himself with two bloated instalments, Django Unchained is a taut, well crafted, sublimely written and expertly directed film.

    I had wondered if Tarantino had long ago become a film maker more interested in fulfilling his own weird, if sometimes wonderful, fantasies through his chosen medium of film - to the detriment of his faithful audience - but with Django Unchained he proves beyond refute that he is a filmmaker of such singular talent that he is uniquely worthy of his Oscar win.Tarantino's directing skills are unparalleled, and as a writer he is the foremost linguist in his field. His grasp of various vernaculars is beyond comparison. Quite simply no one writes dialogue like Tarantino except perhaps with the notable exception of Kevin Smith. And the raw talent that he displayed in earlier films such as Reservoir Dogs and Pulp Fiction has not been lost over the intervening years.

    But viewer beware, despite the fact that prolific use of the n-word, extensive scenes of brutal torture and mandingo boxing and a depiction of an escaped slave being ripped apart by vicious dogs, are all (horrifically) period-appropriate they will nevertheless undoubtedly spilt audience opinion about whether they are acceptable or not in modern cinema.Indeed the brutality and realism of the violence is, at points, overwhelming but then in the climactic shoot-out is, contrastingly highly stylised - bullets fly with reckless abandon, blood spurts and gushes from gaping bullet holes in slow-mo - it's almost comic-book. I'll leave you to make up your own mind on that particular facet of Tarantino's distinctive and highly individual style of film making, but I can say that everyone will have a visceral response to this piece of cinema.Tarantino has always had a gift for casting and here his performers do him proud. Jamie Foxx produces a flawless performance in the title role of Django, embuing his character with unquenchable hatred, touching devotion and poignant pathos Leonardo DiCaprio and Samuel L Jackson are given less screen time but still produce faultless, perfectly measured performances. Yet it's Waltz that shines brightest as the enlightened, German-born, bounty hunter, disgusted by the slave trade, who frees and educates Django.

    Django Unchained is a near perfect piece of film making. Intelligent, boundary-pushing and brimming with bravura performances. 

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