Inglorious Basterds

Quentin Tarantino reigns himself in after “Grindhouse” and the “Kill Bill” movies to make a more ordered and even more entertaining World War II picture that audaciously rewrites history as it sees fit.

Brad Pitt is effective as Lt. Aldo Raine, leader of the Inglorious Basterds, an army outfit whose military connection seems fishy at best. The Jewish troupe is an entity of their own, the best of the best at killing Nazis. Pitt is quite matter-of-fact about each Basterd collecting 100 Nazi scalps.

This is a film lover’s film. From flammable nitrate film to the appearance of Nazi Propaganda Minister Joseph Goebbels, Tarantino tucks away delightful nuggets of film history for cineastes. A central plot point even revolves around a gorgeous cinema owned by a lovely Jewish girl, Shosanna (Mélanie Laurent).

Tarantino once again divides his film into scene/character-centric chapters, this time in a near linear fashion. For carrying the film’s namesake, the Basterds don’t own the screen time. Chapters also revolve around Shosanna’s struggle with a Nazi courter and the assimilation of her cinema, and the deliciously evil, self-centered Nazi Col. Hans Landa (Christoph Waltz). The Academy had better take note Waltz’s pompous, highly watchable performance.

Light on action, the film is almost entirely dialog driven. There’s a lot of talking going on. Tarantino has always been good with interesting yet meaningless dialog and he’s gotten a lot better. Not more than half of the film is spoken in English; the German and French exchanges have a flair of exoticism that are perhaps the most intriguing.

The film clocks in at 153 minutes and definitely feels it, though it’s the film’s only major caveat. Tarantino chocked this film full of scenes that crackle with his usual tension and humor, a great story and superb acting. As one of the characters says near the end of the film, Tarantino would be justified in saying “I think this might just be my masterpiece.”

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It Might Get Loud

Jimmy Page. The Edge. Jack White.

Even reading those three names in a row makes me a little giddy. I almost got chills watching these guys play together.

Director Davis Guggenheim rounded up three generations of rock ‘n’ roll gods, guitarists from Led Zeppelin, U2 and The White Stripes in his documentary ode to the electric guitar, “It Might Get Loud.”

The triad met in January 2008 to chat about their six-string obsession but ended up jamming more than jabbering. Circular dolly shots take in the legends playing together. It’s exhilarating.

But the bulk of the film’s running time consists of fascinating individual artist portraits where the boys visit old stomping grounds, gush about musical inspiration and reveal techniques.

The Edge’s deconstruction of U2’s “Elevation,” with its embarrassingly simple two-chord pattern, is a testament to his mastery of pedals and effects. White’s raw, gritty blues flavored rock and anti-technology sentiment make for an interesting comparison.

The White Stripes frontman makes the most interesting subject, in part because his persona is the hardest to pin down. He wanders around conversing with a nine-year-old version of himself, lives in a rickety barn that looks like it’s about to collapse, and dispels “ease of use” – plus he makes an interesting opening hook for the movie, creating a makeshift guitar out of wire, nails and an empty Coke bottle.

Page’s screen time seems a little slighted, but he is also the most reserved of the three, making his segments less interesting.

Besides the one-on-ones with the artists, there is archival footage of a neon-clad, new wave playing U2, earnest-faced Jimmy Page in a British skiffle band and a Stripes concert where White still refers to Meg as his sister.

It’s a bit demystifying, though fun, to see where the greats found their own inspiration: Page from rock pioneer Link Wray, The Edge from punk outfits The Jam and The Clash, White from the rockabilly of Flat Duo Jets.

While the film itself is a bit helter-skelter, jumping from topic to topic haphazardly, it’s well-shot with numerous close-ups of guitar playing action, deifying the guitar players.

Differing musical styles aside, each of the men has a common yearning to play honest music. The spirit of rock ‘n’ roll lives on even though it is tragically drowned out on today’s airwaves.

The music geek’s ultimate documentary, “It Might Get Loud” will give hardcore fans hard-ons. Extensive knowledge of rock history or fingering frets is not even required. “Loud” simply lets three great musicians rock.

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