Matrixston Wow! Such a good movie.

Micransix Crappy film

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

danhainfit Django has gone soft, buried his machine gun, and is now a monk. When a woman tells him his daughter has been kidnapped and forced into slavery, Django decides he has to right this wrong.DSA feels very much like an Italian exploitation film to me. There is such a heavy use of fog, I wouldn't have been surprised if one of the corpses got up and started eating the flesh of the living (ie Fulci). Django kills three men very slasher like when he decapitates them in a single swoop from a scythe that he gets from a grim reaper statue. And lastly, the way the other slaves are portrayed remind me of cannibals, they rip apart at least one man.The excellent Django theme song is no where to be found, but the groovy score that is present certainly delivers when Django is causing death and destruction.Minus the film's prologue, DSA feels nothing like a western to me. I've read other people praising DSA's prologue, but it came off real corny to me. I do agree DSA feels more like a Rambo riff, which is funny to me because at one point film makers were copying Django and now, Django is copying another film.DSA is a bit slow and incoherent for me. The Anchor Bay disc I watched didn't have English captions even when I had the film's Italian audio track on, so I had a bit of a tough time understanding the dialogue.It may not be as memorable as the original Django, but it's a blast to see Franco Nero once again wielding his machine gun and take no prisoners!

Lee Eisenberg Following the release of Sergio Corbucci's "Django" in 1966, there were a number of movies that had Django in the title but had nothing to do with the original movie. But now comes an authentic sequel, with Franco Nero reprising the role of the crime-fighting westerner. Set many years after the original, "Django 2: il grande ritorno" -- "Django Strikes Back" in English -- has the title character now living in a monastery. But when a rogue general (Christopher Connelly) arrives and starts making trouble, Django digs up his buried machine gun and takes charge. And he's ten times badder than in the first movie! Admittedly, there was a lot of silly stuff in the movie. For starters, many of the Mexicans have accents and lines that appear to be based on Speedy Gonzales. But in the grand scheme of things, this is a truly fun movie! And I get the feeling that they had fun making it. Quentin Tarantino is apparently planning another Django movie. I'll be eager to see that one.

Coventry Hey, wait a minute … This is called Django TWO and it was made more than twenty years after Sergio Corbucci's original classic western. Haven't there been at least twenty other sequels in between? Well yes, but apparently this is the only "official" sequel whereas all the others simply cashed in on the popular name and/or image of lone gunfighter Franco Nero. Those darned Italians … they even steal from each other! There's usually one thing you need to know about belated sequels: they suck! Usually, that is, because "Django Strikes Again" is the exception to confirm the rule. It's a very solidly scripted and action-packed adventure that independently stands on its own as one of the greatest Italian movies of the 1980's. Director and co-writer Nello Rossati luckily doesn't come up with an easy rehash of the original, but brings an ambitious and convoluted non-western story with fascinating characters and even more firepower. Django is living a retired life in a monastery, but digs up – literally - his arsenal when a woman begs him to save his own daughter from the hands of the evil slave trader/weapon dealer/jewel robber "El Diablo". This Nazi-inspired madman is the ultimate cult movie villain. He lives on a battleship that is decorated with the decapitated heads of poor suckers that revolted against him, treats his female black household slave like a cheap toy and shoots innocent fisherman in the head for target practice! Anyway, Django is sent to a silver mine to work as a slave, but manages to escape (with the help of the ultra-cool and mega-versatile Donald Pleasance) and finds his old coffin. But this is a sequels and times have modernized, so Django doesn't pull an ordinary coffin behind him anymore but tunes an entire hearse! Go Django, still indescribably cool after 20 years of hiding in a cloister and pretending to be a monk! "Django Strikes Again" is a surprisingly great and stylish movie that doesn't even qualify as a western! The action is almost adapted to the typical 80's South American guerrilla settings, with slavery camps & torrid swamps. Django's hearse is tremendously cool and there are numerous memorable sequences, including the fight within the monastery and the attack on the brothel. Franco Nero looks just as handsome and acts just as cool at age 45 as he did at age 25, but this time he also receives much better and more professional support. The almighty Donald Pleasance is terrific as an enslaved Scottish entomologist whose brains are slowly getting affected by the continuous heat. Even better than Nero and Pleasance is Christopher Connelly as the truly and genuinely despicable "El Diablo". His villainous portrayal surely ranks amongst the best cinematic baddies ever! Connelly passed away shortly after the release of this film, at the young age of 47.

Oslo Jargo (Bartok Kinski) This brain dead remake of the same crap from Django (1966) pits a long haired older (Nero) who doesn't even seem interested in the role. From the absurd opening shot of two old geezers shooting each other, to the more insane mad pirate Captain who lives on some slave ship steam hauler, this film has nowhere to go. Sadly wasted are Pleasance, in a film he made only for liquor money and Nero, who could have picked a better writer and director than his old friend. Everything about the picture looks cheap, the effects, the boats, the costumes and we don't really get a sense that a story is being told, just pointless bad vs good archetypes. Avoid this nonsense at all costs.