The Exterminator: when his best friend, and fellow ‘Nam veteran, is killed by street punks one man goes on a vigilante rampage by baiting and killing the scum of New York. Unlike most of the ‘notorious’ video nasties this one feels like it ‘s actually worthy of the infamy; it gets pitch-black dark in places; the violence is slow and extreme; and is all the more effective for having such a baby-faced normal-looking everyman in the main role. There are however a couple of aspects that let the film down: in particular the comically stereotypical ‘street punks’ that have drug and sex parties in crack dens, and the action scenes feel very ‘budgety’ – particularly in the finale. The character development feels a touch over-egged as the plot focuses on the Anti-Hero and main policeman sharing some clunky similarities. It’s definitely a film of its era, with a thick layer of Post-Vietnam / ‘veterans in society’ commentary, as well as capturing the seedy streets of New York during its most dangerous period. Overall, The Exterminator is a film that has a message, and although it’s not particularly insightful, there are enough shocks and attitude to pull it off.
Django Unchained: a German bounty hunter frees a slave, then partners up with him to make some cash and rescue his girl from a flamboyant plantation owner. As expected, Waltz absolutely steals the show with what’s essentially a re-write/reprise of his intelligent, oddly-humorous ‘Jew-hunter‘. Everyone else turns up and does their thing entertainingly enough. While the film pokes a lot of fun at the stupidity of racism (KKK mask scene & Sam Jacksons rant about Foxx sleeping in the house), for me the ‘N-Bomb’ is dropped far, far too often: which may have been accurate of the period, but it’s such a loaded word that drags the tone down – taking it way beyond any ‘light-hearted’ Blazing Saddles similarities. Clocking in at 2hr 45, it’s also far, far too drawn out, for such a simple revenge tale, especially once Dicaprio pops up: some scenes seem to go on forever with rambling, empty, dialogue and plodding shot after shot. While they’re all quintessential Tarantino scenes, it also suffers from his trademark lack of self-censorship. Finally, although, stylistically, most scenes are undeniably QT -and this isn’t really his fault – his style’s been ripped off so many times (funky music, uber-gore and back-and-forth dialogue) that it no longer packs the punch it once did. As a stand-alone film, Django Unchained is a decent film dragged down by its ‘epic’ runtime and the difficult task of balancing racism and comedy. It’s only when you step back and hold it up against a film like Inglorious – equally long, but crammed with great, tense and cinematic moments – that you realise how ordinary Django Unchained is.