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The new pope’s choice of ‘Francis’ hints at the direction of his reign.
![](https://s3.amazonaws.com/qcon-assets-production/images/provas/75128/4f3ca197f6061a9a4df5.png)
The first Jesuit pope. The first from Latin America. (Enrique Marcarian/Reuters)
Traditionally popes have been __( V )__ of reaching too high, of appearing too self-congratulatory. The office of the pope is built, literally and metaphorically, on the legacy of St. Peter, the apostle of Christ, whose remains lie beneath the papal seat in the Vatican. But there has been no Pope Peter II. Thus far, no pope has had the audacity to present himself as standing in continuity with the favored disciple of Jesus. Nor would Pope Francis have been able to select the name of the founder of his own order. A Pope Ignatius—after Jesuit founder Ignatius of Loyola—would have appeared self-serving.
At first blush, Pope Francis’s selection of a previously __( VI )__ papal name—he is no 23rd anything—marks a break with the past and augurs well for those looking for a move away from deeply entrenched institutionalism. The new pope symbolically clears the deck for a new period of Catholic history. For a church desperately in need of an administrative makeover, it creates a nominally blank slate for the pale-garbed pontiff.
The new pope’s choice of ‘Francis’ hints at the direction of his reign.
![](https://s3.amazonaws.com/qcon-assets-production/images/provas/75128/4f3ca197f6061a9a4df5.png)
The first Jesuit pope. The first from Latin America. (Enrique Marcarian/Reuters)
Traditionally popes have been __( V )__ of reaching too high, of appearing too self-congratulatory. The office of the pope is built, literally and metaphorically, on the legacy of St. Peter, the apostle of Christ, whose remains lie beneath the papal seat in the Vatican. But there has been no Pope Peter II. Thus far, no pope has had the audacity to present himself as standing in continuity with the favored disciple of Jesus. Nor would Pope Francis have been able to select the name of the founder of his own order. A Pope Ignatius—after Jesuit founder Ignatius of Loyola—would have appeared self-serving.
At first blush, Pope Francis’s selection of a previously __( VI )__ papal name—he is no 23rd anything—marks a break with the past and augurs well for those looking for a move away from deeply entrenched institutionalism. The new pope symbolically clears the deck for a new period of Catholic history. For a church desperately in need of an administrative makeover, it creates a nominally blank slate for the pale-garbed pontiff.
A truly wild Western with a killer line-up
Review of Oscar-nominated film by Sunday Mirror film critic Mark Adam.
![](https://s3.amazonaws.com/qcon-assets-production/images/provas/75128/0d642aa6e7a22ce7f355.png)
SONY PICTURES
Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L Jackson, Walton Goggins, Kerry Washington.
THE STORY
Two years before the start of the Civil War, the unlikely partnership of German bounty hunter Dr King Schultz (Waltz) and Django (Foxx) – the slave he recently freed – set about making money tracking and killing outlaws.
But Django also has plans to rescue his wife Broomhilda (Washington) from charismatic but cruel Mississippi plantation owner Calvin Candie (DiCaprio).
THE VERDICT
When Quentin Tarantino decides to make a Western, you know it’s going to be epic, violent, funny, exciting and challenging. And this wonderfully irreverent and distinctively bloody take on the wild Wild West hits the spot, brimming with delightfully oddball characters and racy style.
This is obviously not your run-of-the-mill cowboy tale. Instead, Tarantino flies close to controversy by setting his story against the violent and brutal backdrop of the slave trade.
As usual his casting is spot on. Waltz (who won an Oscar for his evil Nazi role in Tarantino’s last film Inglourious Basterds) is smooth perfection as a German dentist/bounty hunter and is wonderfully complemented by Jamie Foxx’s steely-eyed former slave.
The early bonding scenes of them tracking redneck villains (Django relishes the fact he can make money killing “white folk”) are amusingly and snappily shot.
Initially, Tarantino pokes fun at the rampant and casual racism of the period – hilariously so in a scene involving a Ku Klux Klan mob complaining about eye holes in their hoods??– but things turn nastier when Schultz and Django attempt to rescue Broomhilda.
Leonardo DiCaprio has a fine old time as the brutal Candie and absolutely oozes slippery cruelty. But he manages to be out-acted by Tarantino regular Samuel L Jackson, playing an elderly slave and close confidant of Candie who is as menacing and controlling as his supposed master.
A truly wild Western with a killer line-up
Review of Oscar-nominated film by Sunday Mirror film critic Mark Adam.
![](https://s3.amazonaws.com/qcon-assets-production/images/provas/75128/0d642aa6e7a22ce7f355.png)
SONY PICTURES
Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Samuel L Jackson, Walton Goggins, Kerry Washington.
THE STORY
Two years before the start of the Civil War, the unlikely partnership of German bounty hunter Dr King Schultz (Waltz) and Django (Foxx) – the slave he recently freed – set about making money tracking and killing outlaws.
But Django also has plans to rescue his wife Broomhilda (Washington) from charismatic but cruel Mississippi plantation owner Calvin Candie (DiCaprio).
THE VERDICT
When Quentin Tarantino decides to make a Western, you know it’s going to be epic, violent, funny, exciting and challenging. And this wonderfully irreverent and distinctively bloody take on the wild Wild West hits the spot, brimming with delightfully oddball characters and racy style.
This is obviously not your run-of-the-mill cowboy tale. Instead, Tarantino flies close to controversy by setting his story against the violent and brutal backdrop of the slave trade.
As usual his casting is spot on. Waltz (who won an Oscar for his evil Nazi role in Tarantino’s last film Inglourious Basterds) is smooth perfection as a German dentist/bounty hunter and is wonderfully complemented by Jamie Foxx’s steely-eyed former slave.
The early bonding scenes of them tracking redneck villains (Django relishes the fact he can make money killing “white folk”) are amusingly and snappily shot.
Initially, Tarantino pokes fun at the rampant and casual racism of the period – hilariously so in a scene involving a Ku Klux Klan mob complaining about eye holes in their hoods??– but things turn nastier when Schultz and Django attempt to rescue Broomhilda.
Leonardo DiCaprio has a fine old time as the brutal Candie and absolutely oozes slippery cruelty. But he manages to be out-acted by Tarantino regular Samuel L Jackson, playing an elderly slave and close confidant of Candie who is as menacing and controlling as his supposed master.