I think those 2 are clearly different and in a sense this is just him doing a very, very lazy impression of his other films with a different subject. I know what you mean re the others, the realism, the goriness, etc...but these aren't done like those, or near as well.
From the get-go (spoiler warning) you have a German dentist who shows up out of the blue in the wild south. That such a character exists is in itself very strange, but guess what? He is actually a bounty hunter and needs Django for certain targets. The whole purpose of getting these targets could be played out very well and be a side story on its own (a la Kill Bill and Beatrix tracking down the assassins, where there background stories were explained)...but is done very lazily. In fact, there is hardly any story to them or any interesting plotline to capture/kill them. It is merely/mostly a plot-device used to connect the two heroes and that such an important trio is done and dusted inside 5 minutes is comical.
The fact that Schultz is German also ties in to the coincidental fact that Django's love interest also has a German background which gives them the convenient excuse to get them together to hatch the plan, when they're inside the plantation. There is literally no other reason for the love interest being German and the German myth is just an interesting story. That Schultz is in the movie solves a crapload of problems, too conveniently for my liking. Not only as some sort of outsider who frowns on slavery...but the very fact that he is willing to risk a ****load - his life - for a slave he just happens to like borders on the incredulous as nothing about him, other than this decision, makes him come across as some civil rights fighter.
Django becoming the ultimate gunslinger is also done in a ****ty, lazy way. He goes from slave to badass in 10 seconds. Contrast that with Kill Bill and how Thurman's character learns the deadly arts from Pai Mei and the whole story with that - or even how she goes to get the sword to kill Bill - which also ties into the Elle Driver story. The protagonist of this story is one of the worst constructed characters I've seen. He basically says nothing and is governed by one desire. Grows very little - his story arc is, again, lazy and unimaginative. He's basically the same guy who just knows now how to kill by being in association with Schultz.
And while this movie attempts to be like Inglorious in the way that it is supposed to be a favourable revisionist tale to appeal to a certain group (jews/blacks)... it is done in a way that has very little cathartic value. It is also done in the way that seems more like how a white person would envision a [black] person getting revenge - becoming a ****ing gunslinger.
Also, the audience already knows the morality. In Inglorious, there is no continuous big show/overly dramatic scenes trying to sell us that Nazis are bad. It trusts the audience to know that without resorting to superfluous scenes/dialogue and lets the movie be what it is: a cathartic vehicle to exact revenge on a coward who in real life committed suicide. In this movie, there are powerful scenes (the two blacks fighting) and then there is a whole lot of other dialogue which just seems wasteful. We get it, whites were bad, blacks are humans too (intelligent too). In Inglorious the characters were based on real people (of which we know their insidious backgrounds and want them to suffer for it) whereas here, there is very very little of that. Even Candie's (Di Caprio) character doesn't have much of a backstory, although I'd give that a pass. No other white character really gets built up enough so that you can't wait for him/her to be torn down to give that cathartic feeling.
The one character that actually had depth was Stephan (S Jackson). He was intriguing, even though he played a stereotypical uncle tom role, in the sense that he identified so much/wanted to protect his boss to that extent, that he'd go against his own without much thought. Ironically, the most cathartic device involved killing another black guy.
I can go on and on, but what bothers me most is just what a wasted opportunity this film was. Samuel L Jackson, Leonardo Di Caprio, Christoph Waltz...in a Tarantino movie. Watching it again made me even more pissed off. Did I mention the music choices were ****ing stupid? Rick Ross and Tupac? The music choices he made for other films (the Ennio Morricone scores) were far better suited to this film.