Like a crazy motherfucker, Quentin Tarantino lets all his obsessions hang out in “Django Unchained”. Some people may want to kill him for it, but if you’re down with that, head off to the “historically inaccurate” “Django” which should have been called “The Good, the Bad and the Slave” by Quentin Tarantino. In fact, “Django” is an act of indecent exposure. Everything that makes Tarantino tick ,old flicks, spaghetti westerns and mano-a-mano head bashing, preferably with shotguns is stuffed into the 165 minutes of this near perfect movie. It’s not an ego trip. Tarantino’s power punch comes from cinema itself. Movie is part of his DNA. Who else would make his first film in 3 years a wet kiss to Western flicks and pack it with his fetishes for ultraviolence, revenge and music from Jim Croce to James Brown/Tupac Shakur? And who else could pull it off? Whiners say the 165-minute epic should be shorter, less violent, bla bla. Sorry, haters. Tarantino does it his way. He divides the film into several chapters as usual, mostly paying a tribute to Sergio Leone’s spaghetti Westerns. Django (Jamie Foxx) is hired by Dr. King Schultz (Christoph Waltz), a German-born dentist-turned-bounty-hunter. King is one of the best Tarantino characters by the way. King needs Django to track the Brittle brothers and bring them back dead or alive. His reward would be freedom of course. But Django needs King to help him locate his enslaved wife, Broomhilda (Kerry Washington). And this is where the fun begins. Tarantino lets these characters play out their destinies against an atmosphere of seductive B-movie sleaze that is deftly evoked in the cinematography of Robert Richardson. Waltz is perfection, combining charm and menace with uncanny brilliance. And Foxx keeps springing surprises.Tarantino stages every scene with an incredible eye for detail that makes you feel every whiplash turn. But it’s the characters, so artfully written and acted, who make you care. That’s right, care. There’s a special kick that comes from watching something this thrillingly alive. Will “Django” shock audiences? That’s a given. But for anyone professing true movie love, there’s no resisting it.