The massacre of mostly civilian moviegoers in Basterds was uncomfortable even before the Colorado Dark Knight shootings; we could recognize ourselves in those doomed Nazi sympathizers and appeasers. We are the good citizens who sit by when our government and corporate elite commit crimes that we believe won't touch us, up until the moment the chickens come home to roost. The insurgent heroes in Basterds and Django don't discriminate much between active combatants and their abettors—a quality that resonates in all directions, at modern-day terrorists, soldiers, CIA torturers, tribal warlords and regional militia. A scene where freed slave Django argues with his bounty hunter mentor, King Schultz (Christoph Waltz), over the prospect of sniping a wanted man in front of that man's son, might as well be between two Defense Department employees pondering the morality of extrajudicial killings by aerial drone. Their view of the man pushing a plow on his quiet farm even resembles the kind of perspective drones and attack helicopters get on their Eastern prey.
Your quote there is such a horrible piece of polemical writing; taking the conclusions of an extreme piece of film-making and pushing it as far as it will go until it stretches and breaks. Do you actually believe;
a) a connection between the Nazi cinema shooting and the real-life Batman one? or
b) sniping in a blaxploitation film and the use of drones in a modern war?
There's a scene in
Saving Private Ryan where the sniper defends a position, picking off the German assault team. Can you imagine your writer making similar claims for Spielberg that he does for Tarantino. The scenes are similar, certainly from a military point of view- since that's what snipers are supposed to do.
In fact, this piece of writing doesn't have much to do with what is on film at all, it has that dry, airless academic feel of too much time sitting in a room, musing over every gap allowed by a film-maker; making vague connections in his films. The bigger and vaguer the gaps, the more extreme the conclusions that can be made. Poor film-making making vague big connections leaving critics the space to write essays.
Since your link doesn't work I can't even see, contextually, what this mystery writer's larger point is. However, making intellectual arguments using the material of a Tarantino exploitation movie, has the sickly feel of a box of matches brought too close to a box of fireworks.