Although Tarantino’s revisionist war fantasy is clearly playing off the historically inaccurate, but gratuitously satisfying WWII exploitation flicks of the ’60s and ’70s, his continual emphasis on dialogue as opposed to action suggests that he’s attempting to rewrite, rather than just regurgitate. He has a fundamental understanding of the appealing nature of art’s ability to rewrite history to our liking, which in this case involves incinerating the Third Reich and pummeling Hitler and Goebbels with a hail of Jewish machine gun bullets. It’s not his finest film by any stretch of the means—too much of it feels like isolated setpieces that are brilliant in isolation, but don’t really cohere—but it still suggests that Tarantino is a much more complicated artist then either his fans or his detractors often suggest. (UA Star Stadium 14, Amarillo, TX)