You miss the point, I don’t want movies that follow genre rules, but rather movies that set up rules and then follow them. For example, in Captain America we have a super soldier who fights Nazis wielding ray guns powered by a supernatural cube. But that was not intelligence insulting since the people in the movie acted like people would if such things were possible.
In IB there is a band of American soldiers operating behind enemy lines, and they are so succesful that they are well known and are being hunted by the German army. Despite this, they never act like they are in any danger. In the scene where the Bear Jew kills the german with the bat, the whole group is whooping it up like they are in a secure location instead of the middle of a forest in occupied france. The only real suspense in the movie is the first scene because people the people in danger are acting terrified.
There is a german war hero who follows the jewish girl around like a love sick puppy, despite her not giving him any encouragment. This is a man who is getting autograph requests every where he goes, and is starring in a movie about his own exploits but can not find a woman in Paris.
There are also two plots to kill Hitler and they both succeed, which eliminates the suspense from either plot.
I was going to respond to your OP, but then you said verisimilitude and I lost interest.
Wasn’t “Once Upon a Time in Nazi-Occupied France” in the opening credits? I think this makes it pretty clear it’s not meant to be an alternate reality but not reality at all. Also clearly a reference to Sergio Leone’s “Once Upon a Time in the West.” I know it was a tag-line and one of its working titles, but can’t recall 100% if it was on-screen at the beginning of the film.
It was on screen, and it sums up the film perfectly. It’s halfway between a fairytale and a spaghetti western, if you want genres.
The OP is not wrong as such, but does rather miss the point. I enjoyed IB more than I expected I would. Landa was chilling, and it has some great scenes, such as the way the tension builds before the bar shootout. Another strength was that I really wasn’t sure where it was headed, it suspends the ordinary conventions of cinema. However, I don’t think it added up to a coherent whole, and I don’t think I’ll ever re-watch it. It also left me feeling somewhat uncomfortable.
That’s well to bear in mind. Thing is, there is little voluntary about this reaction. All of us have a different threshold where suspension of disbelief is broken. At that point enjoyment is lost, and any merits a work may have become almost invisible. I prefer to watch uncritically, especially when seeing something for the first time, but am often unable to.
That’s a very strong position to take. I don’t think you can draw a line in the sand and say “this breaks the film”. Tarantino places stylism well ahead of realism, and is not necessarily “wrong” to do so. That said, my favourite Tarantino film is Reservoir Dogs, where he takes fewer liberties.
I completely understand the reaction of the OP and others to the film, I often feel the same. Independence Day is the movie that really pushes my buttons, and the one I’d personally nominate as stupid beyond belief. However, what’s important to me is not that film-makers work to my sense of aesthetics. What I want is for a diversity of films to be made. That way, it’s more likely I can find something enjoyable. Thank god not every director wants to be Tarantino. But almost equally, thank god they don’t all want to be the Coen brothers, or Francis Ford Coppola.
I can suspend disbelief, BUT the rules of the reality set up must make sense. You can’t just go feh let it go, no way I suspended my disbelief but you still have to create a coherent reality. People never change, even on another planet fighting unicorn vampires the people have to react realistically and abide by the reality they are in.
There is nothing universal about your, or my, definition of the degree to which reality can be bent in the name of storytelling.
I thought this movie was good, but not great. I’ve seen it twice. Even though Kill Bill is one of my favorite movies of all time, I don’t know if I would call myself a huge Tarantino fan. I think what he does is interesting, and original, and I love the dialog in his films, but Inglorious Basterds never really struck me as the ‘‘masterpiece’’ so many people think it is. But then again, I’m not a huge fan of war movies and I probably missed a lot of the more nuanced stylistic choices.
Waltz was great. As was whoever played the blond Jewish girl. Otherwise? Forgettable.
Unless you are approximately 85 and were in Nazi occupied Europe..you werent there.
Crash won Academy Awards and I thought it was a substantially worse movie with a fifth grade message about tolerance or something. Nearly every character was unsympathetic and their behavior rarely made sense.
The same can be said about Inglorious Basterds, but it was much, much more fun to watch. It had Tarantino’s outstanding dialogue, which truly is the crux of any good Tarantino movie. Did it deserve an Oscar? Probably not, but I still enjoyed it quite a bit, and I’m not angry about it garnering critical acclaim because it’s not trying to be some kind of pretentious, artsy Oscar bait. It’s a well-made movie about people killing Nazis and getting into well-written conversations.
Bingo. I have no problem with the fact that not everyone likes what Tarantino does and by extension dislike his movies. But dislike them for the “right” reasons. 
I happen to love what he can do - no one writes dialogue like Tarantino. Or creates characters quite like he does.
I did expect to like it and saw it the weekend it released. I walked out of the theater and commented to my friend that if Waltz didn’t win an Oscar for this movie there was no justice in the world.
Now if you want to talk about nominated movies that didn’t deserve it, let’s go back to 1994. Seriously?! Forrest Gump? And not only was it nominated - it won!! Hands down the best picture that year was The Shawshank Redemption and I’m still bitter it lost to FG.
I think you mean “Ooooh! That’s a Bingo!”
Ohhhhh, how FUN!
Okay, that makes sense.
I think we are looking at two different populations.
Israeli Jews know that there are thousands of people in and near to Israel who would be quite happy to see them die just because they are Israeli/Jewish. This makes it easier for them to understand the oppression of Jews in Nazi Europe.
Jewish Americans are closer to non-Jewish Americans than they are to Israelis.
So, the problem here is that you don’t find it believable that a successful group of fellas who have been almost bulletproof enough to be well known to the enemy wouldn’t be so full of bravado that they feel bulletproof, or that a famous person who would fall for someone that doesn’t give them the time of day could have issues that keep him from getting laid?I have yet to see the movie, but from your descriptions of your issues with it… those are things i see all the time in real reality.
I loved the theater scene: We watch the Nazis’ bloodlust as the movie-within-the-movie shows American soldiers being mowed down by a sniper. The fire begins and everyone panics, and snipers show up in the balcony. The movie audience is now cheering as the Germans are being mowed down, then the perspective changes and, for a moment, we the present-day cheering audience are sitting in front of a burning screen…
Well, I realize the zombification factor involved here, but I just saw this movie and loved it.
There were more unexpected results than I’ve ever seen in any other movie.
The actors who spoke 2, 3, 4, languages seemed to nail it.
Great movie all around.
Well, Christoph Waltz did get his Oscar for Best Supporting Actor, and deservedly so. Frankly, I thought Brad Pitt dragged the movie down, as if an A-list star was needed to get the film made but the director resisted and resented his presence.
Yes – the thing is that that appeal to style is so sadly adolescent that it’s mostly just annoying. In fact, the whole “movie about other movies” things is equally as adolescent. It’s like acne that just won’t go away.