pure nitroglycerin!

Lots of brutal violence which fits perfectly in the brutal setting and Django is an excellent iconic character. What it lacks in substance it makes up for in grim style.

Really solid for what it is. The final shot is awesome.

It's a simple story, but it sticks with you because of what it says about humanity shackled by the structures it built: government, religion, commerce.

As in all my favorite westerns, you can't tell where the mud begins and the shit ends - and along those "lines", the idealism of the hero may not be all it's cracked up to be. While the latter half loses any kind of subtext the first half flirts with, this film's clear joy reveling in sometimes silly, often brutal genre conventions more than makes up for its faults.

Nice ideas but the execution is unremarkable and the narrative is confused. Vastly inferior to Leone's efforts.

Although it's not as shocking any more, it's worth the reputation. Fast, gritty and entertaining. Franco Nero is magnificient, the english dubbing isn't.

The dubbing is atrocious; the theme song RIDICULOUS.

More corpses than lines? Check. Mud-wrestling whores? Check. Terrifically terrible theme? Check. Plot? Ah, who gives a shit.

A charming western. If you find fake blood charming, that is.

It's so amazing how you find yourself feeling for this selfish, cold bastard, who is just as dirty and secluded as his surroundings, even though you don't want to.

80.625

Good Movie

Violent, dirty and nasty all around, in the good sense. Was quite fun in it's own strange way, can see a lot of ideas that Sam Peckinpah took for his own bloody western The Wild Bunch a couple of years later. Also the theme song kicked ass. Could have dispensed the mud wrestling between the world's silliest hookers though. Not sure what the deal was with that.

Really dirty (literally too) spagetti western. It has really cool main character (dude is dragging a coffin around, for fuck sake!), but the story and most characters are underwritten. Some scenes are really well composed, and while it's weird to see western in full-screen, cinematography is one of the strongest aspects of Django. Soundtrack is somewhat annoying; where's Morricone?

The best final shot to a movie I have ever seen.

Can't say that I was too impressed with it. The story was pretty standard other than Django dragging a coffin around wherever he went. The set design reminded me of any 1950s western with painted backdrops and a saloon that John Wayne could have been filmed in. And the acting was rather wooden and not dynamic. I judge it harshly perhaps, and I might appreciate it more after another viewing

Interesting mostly as a context for much superior Sergio Leone works, as this painfully cliche of a film requires a very peculiar mood from the viewer - a very specific entertainment, preferably preceded by alcohol consumption.

Stylish, brutal, excessive, and a little bit silly. Django is a cool character, and Franco Nero is magnetic, but his motivations are vague. But who needs character development when you've got a body count this high?

Corbucci's second best Spaghetti Western (the first being, of course, THE GREAT SILENCE.) Franco Nero is an incredible actor, and the main theme by Luis Enriquez Bacalov is absolutely unforgettable. This film is the equal of any of Leone's westerns, and is well worth seeking out. One suggestion: if you buy the Blue Underground DVD (as I did), try watching it in Italian with subtitles. The dialogue is better, adding to the general brilliance of the film.

Django's revolver can fire 7 shots if necessary.

Django has going for it a delicious cinematography that rivals Leone's, and a brief but memorable final showdown. But whereas Leone's westerns are just convincing enough to allow a minimal suspension of disbelief, Django has just a tad too many plot-holes, irrational behavior, senseless killings and horribly written female roles, for that to be the case. Whereas some later Corbucci westerns have elevated the genre to greatness, Django mostly wallows in averageness.

A completely over-the-top maelstrom of violence. This is the movie that spawned dozens of unofficial "sequels".

A lackluster "classic" that doesn't hold up well at all today. Every moment in this film is used to set up one of the giant violent action setpieces. The story is weak and the character is a two dimensional farce.

Ridiculous, but impressive nonetheless. Stylishly conceived, its absurd plot verges on surrealism. Heck, I'd rather see this again than any Leone spaghetti western.

Once watched this some years ago, I didn't gave it the deserved attention then. Now, re-watching it , I think this is not only Corbucci's best movie, but also one of the greatest spaghetti western's ever done! Oh, by way, it 'borrowed' some elements from Yojimbo (and A Fistfull of Dollars, of course).

Corbucci knows how to shoot douchebags humuliating/torturing/killing innocent people and "warm-hearted" antiheroes. Otherwise, it's somewhat cool, playful, cheesy, but not quite Il grande silenzio (which I like very much, albeit with reserved enthusiasm).