directed by Takashi Miike
It begins with a surrealistic fable performed on a stage, featuring a zany Quentin Tarantino(!), and only gets better, and when it’s all said and done, Takashi Miike helms one of the finest westerns of the decade, not to mention one of the coolest, most out there prequels known to man. The title itself carries with it implications that will have hardcore Western fans drooling (just as Tarantino deliberately titled his newest film with such connotations in mind), but the Asian twist is what makes this film such a gem. The plot is very Yojimbo-esque, which is pretty much the ideal plot for a great ass kicker of a Western (Leone thought it was good enough to jack for A Fistful of Dollars, and Walter Hill lifted it for Last Man Standing), the story of a lone stranger arriving in a divided town, pitting two warring families against one another. Shakespearean? Hell yes, but Miike gives the story so much surreal and poetic texture that you feel hypnotized by its spell. Django, of course, refers to the Sergio Corbucci classic, and Miike finds a way honor and not insult such a cult treasure. Western fans, get your watchin’ goggles on.