Django Unchained, Reviewed

Like I mentioned yesterday, I went to see the new Tarantino movie, Django Unchained, yesterday. Thought today I'd drop a review of the movie as opposed to yesterday's review of the moviegoing experience.
I thought the movie was rad. I can't really think of a Tarantino movie that I've seen that I haven't liked. I guess I wasn't that into Planet Terror, but I did like how some of the characters from Death Proof made it in. The two movies were kind of intertwined, like a Vonnegut novel.
Anyway Django Unchained is the new Western-style flick about a slave named Django (Jamie Foxx) who finds himself freed and employed by a German bounty hunter named Dr. Schultz (Christoph Waltz-the Nazi dude from Inglorious Basterds). The two of them cruise around the pre-Civil War South smokin' fools and makin' paper until they eventually find the plantation known as Candieland where Django's beloved wife, Broomhilda (Kerry Washington) has been sold to owner and proprietor Calvin Candie (Leonardo DiCaprio).
So that's the plot. Having never actually written a movie review before, let me just drop a few nuggets of note on ya:

-Django hardly talks which I think is cool to have a lead that doesn't say much, and the dude Christoph Waltz has a real gift of gab. He's funny as shit.
-Trademark Tarantino violence used at exactly the right moments. Remember how in Inglorious Basterds everyone was hyped to see Hitler get his face blown off? Yea, well, it felt pretty damn good to see a slave mow down a mansion full of crackers. Kudos, Quent. Can't help but wonder if some of your white guilt has played a part, though.
-I always like the music in Tarantino movies and 100 Black Coffins by Rick Ross was a rad juxtaposition in this spaghetti western. I found the music like the over ruling aesthetic of the movie to be just modern enough.    
     Despite its obvious longing to be a classic Eastwood-era western, "Unchained" isn't afraid to revel in its 2012-ness either. Hopelessly retro, yet poignantly modern.
Lastly, I feel this movie is worth commenting on because it is a bold release by Tarantino, especially when he has been accused of shall we say, artistic racism, in the past. I salute Q.T.'s stab at a risky premise and actually having the directorial and dialogue chops to make it a viable offering. It might not be pleasing to Spike Lee, but at least Tarantino had the balls to make it after he thought about it. What would have been really fucked up and racist was if he had the idea and then put it on the shelf because he decided that he didn't want to meet with the criticism, or that we the movie-going public weren't ready to think about these kinds of situations yet.