The Hateful Eight (2015)

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The Hateful Eight (2015)
  • Time: 167 min
  • Genre: Drama | Mystery | Thriller
  • Director: Quentin Tarantino
  • Cast: Kurt Russell, Samuel L. Jackson, Jennifer Jason Leigh, Tim Roth, Michael Madsen

Storyline:

In the dead of a Wyoming winter, a bounty hunter and his prisoner find shelter in a cabin currently inhabited by a collection of nefarious characters.

8 reviews

  • The eighth film by Quentin Tarantino is a hilarious hothouse whodunit that is typically generous in its bloodletting and thrillingly perverse in execution. The Hateful Eight is pure Tarantino – a bloody cinematic valentine to the likes of Howard Hawks, Sergio Leone, and Sam Peckinpah, as well as a chamber piece in which his trademark dialogue ricochets within the confines of a stagecoach and then a cabin like bullets in a whirlwind.

    Shot in the long-disused Ultra Panavision 70 format with a 2.76:1 aspect ratio by frequent Tarantino cinematographer Robert Richardson, the lensing results in resplendent, panoramic views of the densely snow-covered landscape. A six-horse stagecoach emerges from behind a statue of Jesus on the cross. A blizzard is hot on the coach’s heels and it’s still a long way from reaching its destination of Red Rock, Wyoming. The first three of the titular octet are introduced; Major Marquis Warren (a superbly electric Samuel L. Jackson), former U.S. cavalryman turned bounty hunter, who has $8,000 worth of dead bodies to turn in; John “The Hangman” Ruth (an excellent and grizzly Kurt Russell), a fellow bounty hunter who is fiercely protective of his prisoner, one Daisy Domergue (Jennifer Jason Leigh), who is wanted dead or alive for the very enticing price of $10,000.

    The two hunters share a mutual respect but differ in their philosophical approaches to their profession. Warren is satisfied to bring in his captives as corpses, but Ruth wants to bring them to the rope “to hear [their] neck snap with my own two ears.” Daisy is the sole lady in the film’s main eight, but in no way is she treated like one. Already sporting a black eye when first introduced, Daisy is arguably beaten, punched, dragged around, and shot at more than any of the men. (It’s a close race between Leigh and The Revenant’s Leonardo DiCaprio as to who endures the most suffering over the course of their respective films.) The abuse rained upon Daisy is played for laughs and Leigh takes it like a champ, all the while engraving a portrait of a dangerous woman who has more than a couple of tricks up her sleeve. She’s blood-soaked and almost toothless by film’s end, but she is the most unsettling of them all, licking the blood from her lips with vampiric relish.

    Three become four when they come across Chris Mannix (Walton Goggins), an openly racist southern renegade who cheerily claims to be Red Rock’s new sheriff. Ruth initially refuses to take him aboard, but Mannix reminds him that he and Warren can only collect their bounty from the sheriff, so how are they going to get their money if they strand the sheriff in the snow? The personal, political and racial conflicts make for an uncomfortable ride with Mannix announcing that Warren had a $30,000 bounty on his head some years back for burning down the prison in which he and 47 men (not all white Yankees, Mannix points out) were held. “Confederates took exception to my capacity for killing,” Warren tells Ruth, “while the South took my continued existence as a personal affront.”

    Warren soon finds himself a black man in a further white hell when they all arrive at Minnie’s Haberdashery, an isolated cabin where they encounter the remaining four of the eponymous eight. There’s the deliciously named Oswaldo Mobray (Tim Roth), who happens to be Red Rock’s new hangman; Bob “The Mexican” (Demián Bichir), who tells Warren and Ruth that he’s looking after the establishment whilst the usual proprietors are visiting their folks; Joe “The Cow Puncher” Gage (Michael Madsen), a cowpoke who does not seem the sort to be on his way to visit his mama; and General Sanford Smithers (Bruce Dern), an old coot whom Mannix instantly idolises and who makes little effort to hide his hatred of Warren. Warren’s blazing monologue recounting a particularly depraved form of vengeance is a throwdown to all the white scum surrounding him. Don’t mess with me, Warren’s tale warns, because hellfire will be a heaven compared to the malevolence he will unleash.

    All of the actors’ glee in performing Tarantino’s dialogue is evident. Many of them haven’t had a role this meaty in quite a while, and they bite into it as if it were their last mean. It’s especially heartening to see Goggins, the relative newbie of this wild bunch, be given so bright a spotlight by Tarantino, who utilised him in a more minor role in Django Unchained. Only Channing Tatum, who appears very late in the game as the mysterious fella in the basement, is out of step. Tatum is a fine actor, but he does not yet have the depth of character that the others possess. The others are able to tame the more cartoonish elements of plot and character, but Tatum plunges headlong into it, a dire mistake that disrupts the film’s overall tone.

    Only Tarantino can get away with creating what is essentially a claustrophobic Agatha Christie murder mystery and elevating it into an expansive aria of splatter. The brilliance of Tarantino, more than his hardcore cinephilia, play with linearity and multiple perspectives, and vibrant wordplay, is his uncompromising willingness to let the tale unfold at its own pace. Or, as Warren remarks, “slow it down…slow it way down.” It’s a trait currently shared with Alejandro González Iñárritu, whose The Revenant would make for an intriguing companion piece.

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  • It’s odd that Quentin Tarantino decided to stay in his Spaghetti Western phase this long. With his other films, he constantly enters and leaves time periods (Inglorious Basterds and the WWII era, Jackie Brown and its blackploitation styles). After the success of Django Unchained, Tarantino decided to make a true western classic, hoping to perfect his craft (if he hadn’t already with Django).

    It is his 8th film after all, and his previous seven have all been critically successful. With Reservoir Dogs being his first film, along with Pulp Fiction following, the expectations of his films being great are unlike any other modern director today. So how was he able to meet the demands of fans for this upcoming film?

    For starters, he brought back frequent collaborators from his past films, along with bringing back the Ultra Panavision 70, a rare format to shoot movies, as it captures images on 70mm film in an aspect ratio of 2:76:1. To us common folks, this means that a film shot this style will provide amazingly wider, detailed shots. This hasn’t been done since 1966’s Khartoum, so there was certainly some age attached to the old equipment.

    Boy did it age properly.

    The establishing scenes are filled with pure white snow, making it easy to get lost in the wilderness with the characters. You meet each of the first characters individually, some even being stuck out in the blizzard hoping to catch a ride. The close ups wide shots make you feel like you are getting to know the person, but constantly wondering when they will be stabbed or shot to dead with the open space behind them.

    We don’t see much landscape, as the snow that covers the mountains completely isolate these hateful characters from the rest of the world, allowing us to focus on the dialogue. But lets face it, we knew what we were getting into with the man the wrote a film about killing Nazis and Hitler?

    The Cast of The Hateful Eight features a lot of Tarantino regulars, including Samuel L. Jackson, Kurt Russell, Michael Madsen, and Tim Roth. No one here faltered at all with their performances. They have all played menacing gunslingers, crooks, robbers, and thieves. As difficult as choosing your favorite Tarantino character was before, be sure to add at least 3 more memorable characters to that ever growing list.

    As a blizzard covers the Wyoming roads, John “The Hangman” Ruth, escorting a female fugitive, is joined by Marquis “The Bounty Hunter” Warren and Chris “The Sheriff” Mannix. As they find shelter at Minnie’s Haberdashery, they meet 4 other strangers, Bob “The Mexican,” Oswaldo “The Little Man” Mobray, Joe “The Cow Puncher” Gage, and Sanford “The Confederate” Smithers. All of these eight individuals have backgrounds that are all mysterious, and you can’t seem to trust any of them. With the tension building up as time passes. Their reliance and trust for each other are tested, especially when one of them gets a whiff of mischief amongst the strangers.

    The “roadshow” version of this film is a whopping 182 minutes, which is a longer version of the film that includes a musical overture that starts at the beginning of the screening along with an intermission in the middle (and trust me, you’ll need it!). The first two acts of the movie move at a slow pace, but once the tension increases in the third act, the western begins to truly show its colors. Ennio Morricone, an Academy Award winning composer who has written music for previous westerns made, came out of a 40 year hiatus from westerns to compose the score. It’ll at first seem comical, but it only adds more to the wackiness of the ensemble characters that are before you.

    Yes, it is a Tarantino film, so there will be some intense shootout scenes and blood. But after all, this is his eight film, so you have an idea of what to expect, like a head being blown off (but not to worry, it wasn’t Vincent Vega this time).
    The Hateful 8 blends the western genre so well with Tarantino’s eccentric writing, adding another peculiar script to his already beefed up resume. The roadshow is going through numerous cities during Christmas and before its nationwide release in January. The Ultra Panavision 70 got dusted off after decades of being tucked away, and it was polished for yet another classic western.

  • (Rating: ☆☆☆ out of 4)

    This film is recommended.

    In brief: The West remains wild in Quentin Tarantino’s bloody whodunit.

    GRADE: B

    Filmmaker auteur Quentin Tarantino mashes up the (very) bloody spaghetti Western with the stagey whodunit to make his eighth film, The Hateful Eight, with decidedly mixed results. Again, he is all hell and brimstone spreading a vitriolic attack on the senses peppered with N-words and profanity, this time from the Book of Christie, as in Agatha, as his plot device spins its wheels to tell its gruesome detective story.

    More content on shock value, both in his stilted dialog and graphic violence. the writer/director uses the mystery genre rather cleverly. Eight supposed strangers descend upon a cabin in the woods during a fierce snowstorm. Two are bounty hunters who meet along the way, Major Marquis Warren (Samuel L. Jackson) and John Ruth (Kurt Russell). Ruth is delivering his prized prisoner, a ruthless killer named Daisy Domergue (Jennifer Jason Leigh) when they become stranded there with five other odd bedfellows: Sheriff Chris Mannix (Walton Goggins), Oswaldo Mobray (Tim Roth), Joe Gage (Michael Madsen), a racist (what else?) Confederate general named Sandy Smithers, and Bob the Mexican (Demian Bichir, overdoing a thick accent that would make Speedy Gonzales blush). One of them is not who he claims to be, rather an ally to Daisy, whose sole purpose is to free her at any cost. All are thoroughly unlikable characters caught in a Ten Little Indians set-up (minus the Indians), as one by one they bite the dust while we moviegoers try to find the culprit at large.

    The director has assembled many actors from his past films who know his quick rhythms and pacing technique while adding new members to his repertoire company and the end result is a nice invigorating ensemble. The acting is consistently strong with fine work by Mr. Jackson, Mr. Russell, and a memorable star turn by Ms. Leigh who makes the most of her showy role. However, Tarantino directs his actors as if it were in a theatrical set piece. As these snowbound travelers remain cabin-bound, the story become earthbound with its very stagey direction. One wishes for more wintry vistas rather than the majority of the film’s small confines of the log house to hold our interest. One also wishes that the director would have hired another actor rather than use his own pitchy nasal reading to do the voiceover work.

    But the film’s running length is even more of the problem, as it becomes tiresome and incongruous with much of what is said and done needing more concise direction. We all know Mr, Tarantino goes off on tangents, with a sharp emphasis on his second syllable of his last name. This time, the dialog lacks any clever invention and the conversations between the strangers is more strange than compelling. His attempts to connect our present world to the Wild West of yore is less successful, including the use of anachronistic phrases and songs. His lingering shots of sudden bloody mayhem undercuts the nicely built tension this time around and the film becomes derivative of his own stylish flair. One expects a bloodbath and one gets it by the finale. Less would have been more. (His previous film, Django Unchained, had the same problem with this reviewer.)

    Still the technical aspects of the movie are spot-on with stunning cinematography by the talented Robert Richardson and the music score by the legendary composer Ennio Morricone setting off the perfect mood for this piece of epic filmmaking. Kudos to Fred Raskin’s editing for making this claustrophobic world even more intimate.

    The Hateful Eight is far from the director’s best work, but it remains skillful filmmaking that shows enough vitality and edginess to overcome its flaws.

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  • This horse operatic Grand Guignol (aka splatter movie) opens on a snow-covered agonized wooden Christ and closes on Roy Orbison’s antiwar dirge, “There Won’t be Many Coming Home.” That frame suits a story of damned souls in a nation still at war.
    In between, not only does everyone get killed but there’s a flashback where even more get killed. Quentin Tarantino’s eighth film plays at being hateful but it’s epic, bloody, dramatic, with a sense off fun and a reverence for pulp cinema. It’s about hate.
    Specifically it’s about the racial divide still going strong long after the end of the Civil War. As peace-making Mowbray remarks: “Gentlemen, I know Americans aren’t apt to let a little thing like unconditional surrender get in the way of a good war….” (That could be the slogan for the next Republican convention.)
    Only one of the main characters does not refer to the Samuel Jackson character as “nigger.” Even the characters who like and admire him do. The bounty hunter says “Now, girl, don’t you know darkies don’t like being called niggers no more? They find it offensive.”
    This period piece actually reflects upon the racism still percolating through the United States — not just “despite” having the first black president but “in response to it.” “Give us back our country,” quoth Sarah Palin, in redneck code. This film is about racism now, not just then. You hear it when people of all stripes say “I just hate Obama” as if they disputed his policies.
    “The nigger in the stable has a letter from Abraham Lincoln!?!?!” The line is repeated, incredulous. He does have a letter and it works to disarm the supposedly superior whites. As Warren says, “The only time black folks are safe, is when white folks is disarmed.” And this letter has the desired effect. It gets him on the stage. But as he admits, the black man wrote it himself. A parting reference to Mary Todd is “a nice touch,” he smiles. But it works, like the 20th Century civil rights movement worked to legitimize black citizenship in America. But it didn’t work completely, as our continuing slaughter of black citizens daily proves. As the new white sheriff remarks, “’Cuz when niggers are scared, that’s when white folks are safe.“
    The white man’s sexual fear of the negro plays in the hero’s report of the southern general’s son’s death and in the hero later having his balls shot off. Here even the heroic and successful black man is ultimately emasculated. It’s the black guy, by the way, who has the logical and deductive skills to solve the mystery. In a delightful irony, the emasculated black hero ensures that the murderess is well hung. Well, “hanged,” properly speaking, but they do say “hung.”
    The story is told in chapters, with a narrator providing a flashback, to impose a formal rhythm on the unfolding carnage. It’s a bracing reminder of America’s unfinished business.

  • “Got room for one ‘mo?” quips Sam Jackson’s character in The Hateful Eight. Director Quentin Tarantino has got room for more movies and along with Django Unchained, this is his second Western in three years. In “Eight”, Tarantino bludgeons us with the n-word, overindulges the audience with splattered blood and guts, brings in a cast of regulars/relative newbies (Tim Roth, Michael Madsen, Channing Tatum), and provides no aura or mystery to something that’s at least forty-five minutes too long. Registering in just under three hours, The Hateful Eight slightly reminded me of Quentin’s earlier work in Reservoir Dogs. This is especially inherit during the flick’s last act. However, “Dogs” is one of my favorite endeavors of his whereas The Hateful Eight falls into a set of his movies that I could care less about (that would be Inglorious Basterds, “Django”, and Kill Bill: Volume 2). Granted, this isn’t a disdain for Tarantino’s latest mind you, it’s just pure disappointment.

    Anyway, his direction here is adequate if not unflashy, his main lead (Kurt Russell) does a great John Wayne impersonation a la Big Trouble in Little China, and Quentin even narrates certain parts of “Eight” which feel completely out of place. This thing is kind of a forced whodunit whose time setting is right after the Civil War. The story begins in snowy Wyoming where a blizzard is heavily approaching the town of Red Rock (an actual place in the Cowboy state). John Ruth (Russell) dubbed “The Hangman”, is transferring a fugitive to “Rock” named Daisy Domergue (played by Jennifer Jason Leigh). He wants to see her hang but his carriage is diverted (because of overwhelmingly heavy snowfall) to a stagecoach lodge called Minnie’s Haberdashery. On the way he picks up a bounty hunter named Marquis Warren (Samuel L. Jackson) and a local sheriff named Chris Mannix (played up-and-comer Walton Goggins). When they get to Minnie’s, other strangers await their presence (Bruce Dern as a former war general is one of them). Ruth is suspicious that some of these random gentlemen are trying to help Daisy escape. He thinks that quote unquote, “one of those fellas is not what he says he is”. As the proceedings barrel along, gunfights, stabbings, and poisonings ensue. Murder is unforgiving and unsentimental. Tarantino style!

    Now “Eight” moves briskly in certain spots and really drags its feet in others. Most of its scenes happen in one room so it felt as if I was watching a savage version of What Love Is (2007) combined with a life-and-death variant of 2001’s Tape. I was expecting to experience an intermission but I guess that was only for the film’s roadshow release (we’re talking about screenings in cities like L.A. and New York with the whole 70mm treatment tacked on). I was also expecting to see the Band Apart logo which seems to pop up at the beginning of every Tarantino venture. Oh well. So much for bantered tradition.

    All in all, just like in the Kill Bill exercises, Quentin inserts The Hateful Eight with title cards that say “Chapter 1”, “Chapter 2”, “Chapter 3”, and so on and so on. This doesn’t hold much burden because what’s on screen is such a straightforward eventuality. There are long stretches of dialogue where the actors explain everything to the audience. And Tarantino himself explains things too with his clunky narration plus a flashback sequence that although similar, doesn’t quite equal the import of his finest hour, Pulp Fiction. In truth, there’s no enigma to “Eight”. And as for its grisly violence, well it’s over exaggerated because humans don’t contain that much plasma (sorry). With most of the troupers equaling the adjective by which this 2015 release got its title (you end up detesting almost everybody expect for Bruce Dern), well you can just call Tarantino’s 8th vehicle The Good, the Bad and the Fugly. A bloody, messy, and obvious affair. Rating: 2 Stars.

    Of note: Samuel L. Jackson was brilliant in Pulp Fiction. It was new, fresh, and exciting the way he spewed soliloquies about Big Kahuna burgers, Ezekiel 25:17, and Caine in Kung Fu. Twenty-one years later and within the span of 50+ movies, he’s still tiredly doing the same old shtick. In The Hateful Eight, it has reached an all-time peak of annoyance. Also of note: Ennio Morricone’s film score is nifty. But what’s up with Tarantino adding songs that came out in the year 2000 (The White Stripes) and the year 1972 (David Hess). Didn’t this flick take place in the 1800’s. Just a random thought.

    Rating: 2 out of 4 stars

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  • Quickie Review:

    Years after the Civil War, eight individuals from different walks of life take shelter from a blizzard in a cabin. As the night goes on, it becomes clear that not everyone is who they claim to be. They must find the truth if they hope to make it through the blizzard alive. The Hateful Eight, has all the trademark Tarantino-isms: monologues, odd characters, long exchange of dialogue, ultra-violence, etc. Once again Tarantino brings all those elements together in this beautifully tense and well-paced movie. With majority of the film taking place in one room, it’s less about the plot of the movie but more about the characters and the connections to each other. It doesn’t hurt to have a great cast as well. This is a definite must watch for Tarantino fans. Others who enjoy a good murder mystery will surely also find some entertainment value.

    Full Review:

    Every Tarantino film I’ve seen I’ve either enjoyed or straight up loved the movie. I’ve never been let down, even with his arguably worst movie Death Proof. What I look forward to most in his movies is the dialogue and focus on characters. In The Hateful Eight, Tarantino really limits his scope and still manages to shine.

    The movie is almost three hours long, yet the time felt like it  passed by in an instant. This is thanks to the well written script of the movie. In typical Tarantino fashion, there are moments where a character will monologue or two of them will have a long discussion. These exchanges are peppered with details that at first may seem pointless, but it is through these details that you are drawn into movie. You learn more and more about each individual through their subtle mannerisms and things they say. Which helps with the intrigue of solving the mystery for the duration of the movie. By the way, these are all horrible people, hence the title. There are very few redeemable qualities to any of them, and still you are hooked till the end. An excellent example of that was a story told by Samuel L. Jackson’s  character, it got me to go back and forth on how I felt about him.

    The constraint of having almost 80% of the movie take place in a cabin, really serves the story well. In the close quarters the characters are forced into uncomfortable situation, leading to interesting confrontations ranging from verbal insults to all out head explosions. Which reminds me, this is one hell of a violent bloody movie. So if you are easily affected by the sight of blood or pieces of body spread like crushed pumpkin… might want to give this movie a pass. Personally, I find the violence is so over the top and absurd that there are moments of laughter to be had. The only complain I have which many others might agree with is that the mystery aspect of the plot is solved too quickly. It’s not that the movie goes downhill from there, it’s that I was having so much fun trying to solve the mystery for myself that I didn’t want it to end so soon.

    Other than the minor gripe, I thoroughly enjoyed The Hateful Eight. There is not a single wasted moment in the entire movie. Yes, the long runtime may seem daunting at first but worry not because of how engaging the script is. Yet another great addition to the already impressive filmography of Quentin Tarantino. Even if you hate his work, you got to admit he brings a unique personality to all the films he directs.

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  • “Now, Daisy, I want us to work out a signal system of communication. When I elbow you real hard in the face, that means: shut up.”

    Countless film enthusiasts were waiting impatiently for the new “Star Wars” movie last year. Believe it or not, I wasn’t really. On the contrary, I was waiting for the new film by Quentin Tarantino. Sorry Tarantino haters, but Yankee Doodle Dandee, this was again a brilliant film by the most rebellious, anarchic director Hollywood ever saw. You have to give him credit for one thing : he remained true to his personal style. So once again we get a typical Tarantino movie with acrimonious dialogs, racist statements and a bloody apotheosis. The end result is a kind of “Reservoir Dogs” mixed with “Django Unchained”, which takes place in a small space as in “From dusk till dawn”. I hope Quentin’s abandons the intention to make only 10 films. But isn’t it time he changed his routine a bit? Are you a big fan of classic Italian spaghetti westerns? Well you’ll be enthusiastic when the movie begins in all its grand splendor. A snowy landscape with in the foreground a cross covered with snow. And while slowly zooming out, you can see a stagecoach approaching in the far distance. This is accompanied by music of Ennio Morricone and text in a font type that can be associated with old westerns. The moment this chariot stops willfully (after a long period) because Samuel L. Jackson, sitting on a pile of corpses, blocks the road, it’s the start of a nearly 3-hour immersive cowboy story full of mystery and revenge. A kind of Cluedo in a cabin. Except that there won’t be a solution that sounds like “The colonel’s committed the murder with a candlestick in the billiard room”, but rather “Which of the eight people who took shelter in Minnie’s Haberdashery because of a snowstorm, will endure the storm”.

    The hateful 8 are almost all old acquaintances of Tarantino and appeared in one of his earlier film projects. First there’s Samuel L. Jackson, who recently starred in “Kingsman: The Secret Service” (after some less impressive performances) and in the past appeared in “Pulp Fiction”, as the bounty hunter Major Marquis Warren. Samuel L. Jackson as I like to see him: raw, angrily defending himself and disturbingly brutal. The white bounty hunter John Ruth is played by veteran Kurt “Death Proof” Russell. A bounty hunter just like Major Warren, but suspicious and protective when it comes to the award he’s getting for his prisoner Daisy Domergue (Jennifer Jason Leigh). Along the way they pick up Sheriff Chris Mannix (Walton “Django Unchained” Goggins), who’s on his way to Red Rock, the place where Ruth wants to get his money. The blizzard however prevents them from traveling further and they have to sit out the storm in Minnie’s cabin. And this in company of a Mexican called Bob (Demian Bichir), the executioner Oswaldo Mobray (Tim “Reservoir dogs” Roth), the wandering cowboy Joe Gage (Michael “Reservoir dogs” Madsen) and former general Sandy Smithers (Bruce “Django Unchained” Dern). So everything is prepared now for a thoughtful game of ‘whodunit’ with Domergue at stake.

    Despite the long runtime (3 hours is a bit too much), the movie isn’t boring for a second. The conversation at the beginning between Jackson and Russell is a foretaste of what comes after wards. Because the whole film is full of such hilarious conversations. The film is neatly divided into six chapters. The story is explained in detail painfully slow. And as required in a real Tarantino, the film is peppered with humor, rude and racist comments and an exaggerated end with massively flowing blood. And all this in a meticulously elaborate and detailed decor. It looks more like a Shakespearean drama.

    Needless to say that the acting of the various characters deserve the most praise, because the film consists mainly out of brilliant dialogs. A memorable joust with witty arguments and dialogs which made sure the tension increased. The contributions of Russell and Jackson were in this case of a high level. The only rather bizarre choice for me by Tarantino is the presence of Channing Tatum. I would have preferred an appearance of Christoph Waltz.

    Maybe I’m a little biased because I’m a huge admirer of the work that Tarantino always delivers. And yet I think “The hateful Eight” isn’t his most successful creation, even though it’s a wonderful masterpiece. Perhaps it’s because I see through the concept that Tarantino uses and the surprise element is completely gone. The way the dialogs are structures, is indeed always the same. The repetitive nature of dialogs and the phrases that follow each other at breakneck speed as if they are fired by a Gatling gun. Patiently and meticulously the complete story is being formed. For the impatient viewer it appears as if it takes ages to finish. Of course there’s the rudeness and inclemency both contextual as textual. And the usage of extravagant humor. And finally, the excessive, violent and bloody climax. These are usually the fixed elements that recur in a Tarantino. Except that each film is placed in a different setting.

    But as a true Tarantino fan, again I can only conclude this was an exquisite film and I enjoyed it full three hours. I’m already looking forward to the next movie. Hopefully Quentin seeks an alternative approach, in such a way that he can surprise me again.

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  • “When you get to hell, John, tell them Daisy sent you…”

    Racist, misogynistic, offensive, graphically violent. Would you expect anything less from writer/director Quentin Tarantino?

    Tarantino’s eighth film, to no surprise, is receiving it’s fair share of backlash from critics for going too far and being too Tarantino. Although I cringed, felt uncomfortable and covered my eyes at times, this is everything I expected it to be.

    David Edelstein at Vulture writes: “But when the violence comes, it’s more graphic and nausea-inducing than even a hardened Tarantino viewer could have reason to expect.” I thought Django was worse.

    And Ann Hornaday at The Washington Post writes: “The climactic bloodletting may make for merry times for fanboys and fetishists, but it’s difficult to reconcile Tarantino’s infectious joie de vivre with the scorched-earth nihilism he uses it to celebrate.” I get where you’re going.

    If you don’t expect to be offended by Quentin Tarantino’s new Roadshow Western, than don’t sign up for this bloody wild ride.

    The exclusive 70mm Roadshow engagement of The Hateful Eight pays homage to and recreates the grand film exhibition style popularized in the 1950s and ‘60s that brought audiences to theaters with the promise of a special event. Taking place in the nation’s largest cities and grandest theaters, Roadshows presented a longer version of the film that would be shown in the film’s subsequent wider release, included a musical overture to start the show, an intermission between acts and a souvenir program. Roadshows became the gold standard for exhibiting pictures like Lawrence of Arabia, Gone with the Wind, Cleopatra, Battle of the Bulge, The Ten Commandments and Ben Hur.

    The post-Civil War story follows bounty hunter Marquis Warren (Samuel L. Jackson) and John Ruth (Kurt Russell), another bounty hunter looking to claim the reward on the head of criminal Daisy Domergue (Jennifer Jason Leigh). The trio cross paths with the Southern renegade Chris Mannix (Walton Goggins) who claims he’s the new sheriff of the town Warren and Ruth are en route to. A treacherous blizzard drives the bunch to a nearby haberdashery where they meet an assortment of characters, and that’s where the story slowly unfolds.

    The Hateful Eight dips into Western territory, but don’t expect a classic Western genre flick; it’s got more Agatha Christie mystery to it than a true Western with all the blood and profanity you can expect from Tarantino.

    But a particularly interesting word is being used to describe Tarantino with this film–misogynist.

    Daisy Domergue, the only female character, is the film’s punching bag. Literally. Introduced with a black eye, she only gets bloodier and bloodier and more toothless as the film progresses. But while she’s allegedly the nastiest criminal (part of an elusive gang), the script barely portrays her as a villain worthy of torture or beating. She wasn’t as noticeably evil as say Col. Hans Landa (Christoph Waltz) in Inglourious Basterds or Calvin Candie (Leonardo Dicaprio) in Django Unchained. All she’s portrayed as is a captured outlaw with a sassy mouth.

    Tarantino points out that “Violence is hanging over every one of those characters like a cloak of night,” he said. “So I’m not going to go, ‘OK, that’s the case for seven of the characters, but because one is a woman, I have to treat her differently.’ I’m not going to do that.”

    How Jennifer Jason Leigh described it: “She’s a leader. And she’s tough. And she’s hateful and a survivor and scrappy. I thought it was funny, but I didn’t think it was misogynistic for a second. [Tarantino] doesn’t have an ounce of misogyny in him. It’s not in his writing. It’s not in his being.”

    There’s been a lot of mixed reception following the release of the film, but one thing remains unanimous–it’s Tarantino. It’s got all the violence, profanity and OMG-moments to keep you engaged and then some. But for true fans of the shock-value director, there’s been a noticeable shift in his films that’s undeniable, and The Hateful Eight is no exception to that shift in direction.

    Don’t let me dissuade you. The Hateful Eight is great Tarantino, but it’s lacking that something special that his earlier works possessed.

    As in most Tarantino films, the cast performs at their best and is probably the best ensemble cast I’ve seen this year. This is a dialogue-heavy film, and if you catch the roadshow, you’re going to be sitting for over three hours. But with performances from Kurt Russell, Jennifer Jason Lee, Walton Goggins and Samuel L. Jackson, you won’t feel the weight of the run-time.

    Although the entire ensemble cast should receive recognition for their brilliance, the breakthrough star of this film is Jennifer Jason Leigh. While you have some actresses, like Meryl Streep, who have been nominated 19 times by the Academy, Leigh has neither won nor been nominated for a film, but has always remained in conversation. Especially now. She’s the only female presence in the movie, and she dominates the screen every time the camera is on her bloody face. She’s recently been nominated for a Golden Globe for her performance (a sure win), and I’m positive she’ll receive recognition once Oscar nominations are released.

    So it should go without saying…be prepared for this one before you see it, but believe me, it’s worth watching.

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