Audiences can be forgiven for not quite knowing what to expect from Quentin Tarantino’s Inglourious Basterds upon its release in 2009. Perhaps shaken by the lukewarm (and in some cases hostile) response to his (along with Robert Rodriguez) Grindhouse double feature, Tarantino decided to revist one of his most anticipated scripts – ostensibly another genre mash-up in the vein of Kill Bill- but this time taking place near the end of World War II. The (reasonable) anticipation was that this would be a remake of Enzo G. Castellari’s film The Inglorious Bastards (it’s not), or perhaps a tribute to the
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