Still chewing this one over, and I suspect it’ll take a second viewing before it starts to come into focus. It obviously plays as a variant on Inglourious Basterds, but I miss that film’s ferocious set pieces and, especially, its strong central female character. But what Django Unchained does even better than Basterds is show up the essential timidity of contemporary Hollywood filmmaking. Django is singular in large part because nobody else is making bigtime narratives that deal with the history of race relations in America. I like Lincoln a lot, but it’s telling that when Spielberg turns his attention to roughly the same period in history, he comes up with Congress: The Motion Picture. And I’d love to see Spike Lee make a Django answer film, but I doubt he could get the funding.