By NATHAN BURSTEIN

Quentin Tarantino’s latest movie may turn out to be many things, but one fate it will likely avoid is the controversial uproars raised by Munich and The Passion of the Christ.

Though the film premiered at Cannes in May, there are rumors that Quentin Tarantino has re-edited the movie since then.

Weeks before it reaches theaters, publicity efforts are escalating into high gear for Tarantino’s Inglourious Basterds, a very loose (and purposely misspelled) adaptation of a 1978 B-movie set in wartime Europe. The director will even come to Israel for the premiere in September.

Described as Tarantino’s “new masterpiece” on the cover of next month’s GQ, the film appears in many ways typical of its writer-director’s previous work: filled with stylized dialogue, loaded with references to earlier films and, perhaps above all else, hyperviolent. But where Tarantino’s earlier movies – Pulp Fiction, Reservoir Dogs, the Kill Bill films – dealt exclusively with fictional characters and were set mostly in Los Angeles, Inglourious Basterds takes the Oscar winner into new territory: the very real historical horrors of Nazi-occupied France.

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