Hateful 8 (2015) Review

Hateful 8 Cast

Cast Of Hateful Eight

The Hateful Eight Movie Review (2. Quentin Tarantino's ultraviolent, ultra- talky sorta- Western . Set in the post- Civil War era, the movie pits a group of criminals and criminally brutal lawmen against each other in a snowbound Wyoming cabin. Tarantino takes his sweet time assembling his core cast. He spends nearly a half- hour on a stagecoach ride that introduces a mustachioed fugitive tracker, John .

Marquis Warren (Samuel L. Jackson), an ex- slave turned anti- Confederate war hero turned bounty hunter whose record of wartime atrocities makes Ruth distrust him and Mannix hate his guts. Advertisement. When they arrive at the cabin—a watering hole known as Minnie's Haberdashery that seems as improbably vast on the inside as Snoopy's doghouse—they are joined by more characters.

There's a furtive and rather cryptic Mexican (Demian Bichir) who calls himself Bob, a former Confederate general (Bruce Dern), a smug and effete British hangman (Tim Roth, filling what might otherwise be the Christoph Waltz part), and a smirking gunman named Joe Gage (Michael Madsen, doing the Michael Madsen thing). The joint's owner, Minnie, is nowhere to be found, and her husband is missing as well. The character tally actually adds up to nine by this point, if you count the driver, but he's not really hateful, so maybe you shouldn't. And if you've glanced at a poster or trailer or IMDB, you know Tarantino will add more cast members, including Channing Tatum; Zoe Bell; Dana Gourrier of .

Movies “Well I’ll be double-dog damned” It appears Quentin Tarantino has decided to go back to his roots by making his eighth feature film The Hateful. Movie Review – The Hateful Eight (2015). But with The Hateful. Scott Davis is Senior Staff Writer for Flickering Myth and co-host of The Flickering Myth. Movie Review – The Hateful Eight (2015) December 26, 2015 by Robert Kojder Leave a Comment. The Hateful Eight, 2015. Written and Directed by Quentin Tarantino.

The movie is filled with playful and curious surprises: not just of the plot twist or character- revelation variety, but what might termed . This is a director who hires the Mahler of spaghetti Westerns, Ennio Morricone, whose work he's sampled many times, to create an original score, then ladles it onto a film that is not a typically sumptuous revenge Western about characters' relationships to the land they're battling to claim, but something more like a crisply photographed stage play—think of Tarantino's debut film . Advertisement. By my stopwatch, four- fifths of .

Tarantino asked his regular cinematographer, Robert Richardson, to shoot in Ultra Panavision 7. This is all fairly perverse, but it's these kinds of choices that make Tarantino more special than the filmmakers who dream of being the next Tarantino. The problem isn't how Tarantino tells his story, but the deficiencies in the story itself—or maybe we should put .

Talk talk talk talk talk talk kill; talk talk talk talk talk talk kill, and so on, and so on. The N- word is sprinkled throughout; Tarantino loves the slur nearly as much he loves bare feet. But its use in . That's not the case here. The in- depth conversations about the Civil War and capitalism and justice vs. The context of a nasty, brutish time gives the artist permission to be nasty and brutish. When the violence arrives in .

We're just watching a bunch of scorpions in a bucket getting ready to sting each other, then stinging each other—sometimes verbally, sometimes with fists or guns or other weapons: tearing flesh, coating hardwood floors with gore and brains. She doesn't wipe the blood off; this is presented as proof of her indomitability, but it plays like sheer provocation: Oh, I'm a misogynist, am I? Watch me leave the blood on her face, because I can. Like the nonstop barrage of racial slurs, the film's relentless and often comical violence against Daisy never feels truly earned.

In a movie filled with selfish, deceptive and murderous characters, hers is the only demise that is not just observed, but celebrated. The pre- intermission showstopper is Warren's account of forcing the general's son to march naked through the snow, then orally raping him before killing him—an atrocity that might or might not have actually happened. It's so transparently intended as a .

The bit where Warren describes his prodigious member to the general is oddly childish. Any pretense of political commentary or historical engagement vanishes, and you're left with a white filmmaker draping himself in a black leading man's mystique, like a kid putting on an Iron Man costume and running around the house telling everyone he can fly. Advertisement. The lyrically brutal . It was also the ultimate examination of role- playing in both life and art—a concern that runs through all of Tarantino's movies, starting with . It absolved the viewer of nothing.

It was not a simple entertainment. It was complicated, and every second was deeply felt. It has superb photography, music, set design and performances (particularly by Russell, Goggins, Leigh and Jackson), but no fervor, no framework, no justification for its nonstop insults, provocations and atrocities. It has a bully's mentality.

Of course, none of my gripes will matter to hardcore fans, who will wave away objections to the film's methods and messages with, . It's hard to shake the suspicion that, deep down, he believes in nothing but sensation, and that he's spent the last decade or so stridently identifying with oppressed groups so that he can get a gold star for making the kinds of films he'd be making anyway.

Movie Review – The Hateful Eight (2. The Hateful Eight, 2. Written and Directed by Quentin Tarantino. Starring Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Tim Roth, Walton Goggins, Michael Madsen, Bruce Dern, Demian Bichir and Channing Tatum.

SYNOPSIS: In post- Civil War Wyoming, bounty hunters try to find shelter during a blizzard but get involved in a plot of betrayal and deception. Will they survive? Quentin Tarantino has always been a visionary of the highest order, now so far up the Hollywood ladder that he has had carte blanche on almost every film since Pulp Fiction which has allowed him to bring us an exhaustive plethora of some of the most striking images of this fledgling century. But with The Hateful Eight, he is pushing his fascination with film to new/old levels of awe and reverence as he tries to reacquaint modern audiences with the thrill of Panavision, Cinerama and the unlimited potential of film on film.

Dead since the 1. 1080P Hd Video Download Killing Of A Sacred Deer (2017). Panavision 7. 0mm has been given a rebirth under the director who is in a small group of filmmakers desperate to cling on to what made them want to become storytellers in their fledgling lives: the power of film.

And with The Hateful Eight, the director’s 8th film (only two more to go so he says) instantly takes it place amongst his greatest achievements from the very first few frames. Opening on a stark, wintery mountain setting that looks so real you can feel the biting cold, we are thrust into the back of a horse- drawn carriage with Major Marquis Warren (Jackson), a former War vet trying to collect on his in- tow bounty, and John Ruth (Russell), known as fellow bounty hunter The Hangman who is seeking his biggest score yet: that of notorious killer/gang member Daisy Domergue (Jason Leigh). But with the storm worsening every second, the trio seek shelter in a local haberdashery until it passes, only with four other men who may be looking for more than strong coffee and hot stew. It’s undeniable from those magnificent opening moments of breathless cinema that Tarantino has created something undeniably beautiful here, something that will hopefully live on for years to come and influence other filmmakers to continue to embrace film in all its glory. Colours explode from the might of the widescreen, as we are transported to the slopes of Wyoming, all of its wintery slopes and snow- laden roads bursting from the screen in a way that hasn’t been seen for decades. Truly, this is cinema at it’s most exquisite best. But despite its impeccableness, the delicate nature of what unfolds on- screen, when the action settles in at the Haberdashery that despite what Tarantino, Do.

P Robert Richardson (Django Unchained, Inglorious Basterds), editor Fred Raskin et al have created and composed to stunning effect here, Tarantino’s violent streak threatens to derail everything piece of meticulously beautiful filmmaking. Whisper it quietly, but the director’s penchant for copious amounts of blood and violence are what hinder The Hateful Eight from becoming Tarantino’s unequivocal masterpiece.

Such are the power of the images on- screen, they way they are presented and the immersion it gives, in the full “roadshow” or otherwise, that when the nastier elements of this rag- tag group become apparent, they almost spoil all the groundwork that has been laid. This is still a Tarantino film of course, so such things are to be expected, but you wonder what could it have been if the dynamic director had toned down those elements and let the sumptuous images unveil themselves through those gorgeous lenses. In addition, the film downturns through the mid- section (particularly that which rests either side of the intermission) as the film becomes so besotted with itself that it forgets to entertain us rather than itself.

Tarantino’s trademark energy and intensity seems strangely lacking, and while the dialogue fizzles as you would expect it never quite grabs you in the way you would hope, nor is there a truly awesome moment to get your teeth into outside of the cinematic magnificence. It’s a twisty, puzzling whodunit that plays out as the most violent game of Cluedo ever with neither the audience nor indeed the players know quite who to trust, but it feels so long- winded and perfunctory in places that you aren’t quite as invested in the characters as you normally would.

That said, the performances across the board are excellent, with Jennifer Jason Leigh (where has she been?), Walton Goggins and of course Jackson in particular excelling. What’s undeniable is how magnificent The Hateful Eight looks, sounds and feels: filling up the widest possibly canvas with some of the most superb visuals we have seen this decade, it’s a masterpiece of creation, patience and film in the absolute. It’s just a shame that Tarantino’s 8th film is covered in lashings of the red stuff. The most beautiful looking red stuff, mind. Flickering Myth Rating – Film: .

Follow him on Twitter.