Full disclosure: I was violently ‘meh’ on Django Unchained right up until its opening credits. And then I got hard.
In all seriousness, I worry that the media controversy stirred up by the likes of Spike Lee and Salon.com is causing us to miss the forest for the blood-splattered trees. Yes, there are some pretty blunt portraits of violence. But really, aside from a very brutal mandingo death fight (in “Stuck in the Middle” fashion, mostly cut around and heard), one could argue Django supports a revenge-driven wave of violence visited on whites at the hands of a black or pro-black perspective.
Or, one might argue that beyond its very sordid aesthetic, Django Unchained is much more concerned with the artifice of theater and the ethics of American business than exploiting slavery altogether. One might argue. Click on through so we can point fingers and embarrass ourselves together: