elbrandino said:
Inglorious Basterds. Tarantino has made nothing so far to show me he's as good as people say. The main thing I disliked about the movie was that it was advertised as a comedy and everyone said it was hilarious, and it was not funny at all. That and I don't like watching characters talk in languages I don't understand about a plot I stopped caring about 10 minutes in, all while reading subtitles.
Avatar is also up there. It's a gorgeous movie, but sometimes the plot just broke the fourth wall so hard. Examplse: unobtanium; predictable plot. I enjoyed watching it, but I don't think it's a phenomenon, and it's one of those movies I'll only watch once.
I loved Basterds, but it's not my favorite Tarantino film. The language/subs issue is a taste thing. It was well done. It's funny you should mention Basterds, because it relates to what you said about Avatar...
Warning: I'm going to be a huge nerd here and correct you. I hope this doesn't sound condescending. Fourth-wall breaking is a specific form of meta-fiction. It refers to, and only to, a character addressing the audience directly, as in the Bloodpool comics and the horrific (don't waste your time) Funny Games. Calling the sought-after material "unobtainium" isn't even really metafiction. Even if it weren't based on an engineering term, referring to something in this way isn't 4th wall breaking or metafiction. Metafiction is when a character addresses or acknowledges that he/she is a character. Stranger than Fiction is a fantastic example of this, as is Inglorious Basterds, specifically the very first scene, wherein the fantastic Christoph Waltz tells the farmer that he's exhausted all of his French and asks if he can finish the conversation in English. But Tarantino doesn't stop there - he didn't do it just for a dumb joke. He then
uses that literary device to the story's end. The English is used to conceal from the Jews hiding under the floorboards that Col. Landa knows they are down there, and is about to kill them. It made the scene all the more gripping.
Two things struck me harder walking away from Inglorious Basterds than anything else: the first scene involving the title characters takes for ever but never ceases to be entertaining or stops serving the story, and proves that quite a bit of story can be pulled out of one scene, and the movie itself is a statement about the power of cinema. OK, and the standoff in the bar was one of the scariest things I've seen in a theater since the OD scene in Pulp Fiction.
Speaking of, go find a copy of that movie. Now. It'll change your view of Tarantino.