Directed by:
Quentin TarantinoScreenplay:
Quentin TarantinoCinematography:
Robert RichardsonComposer:
Ennio MorriconeCast:
Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demián Bichir, Tim Roth, Michael Madsen, Bruce Dern, James Parks, Dana Gourrier (more)VOD (1)
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Six or eight or twelve years after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Kurt Russell) and his fugitive Daisy Domergue (Jennifer Jason Leigh), race towards the town of Red Rock where Ruth, known in these parts as "The Hangman," will bring Domergue to justice. Along the road, they encounter two strangers: Major Marquis Warren (Samuel L. Jackson), a black former union soldier turned infamous bounty hunter, and Chris Mannix (Walton Goggins), a southern renegade who claims to be the town's new Sheriff. Losing their lead on the blizzard, Ruth, Domergue, Warren and Mannix seek refuge at Minnie's Haberdashery, a stagecoach stopover on a mountain pass. When they arrive at Minnie's, they are greeted not by the proprietor but by four unfamiliar faces. Bob (Demian Bichir), who's taking care of Minnie's while she's visiting her mother, is holed up with Oswaldo Mobray (Tim Roth), the hangman of Red Rock, cow-puncher Joe Gage (Michael Madsen), and Confederate General Sanford Smithers (Bruce Dern). As the storm overtakes the mountainside stopover, our eight travelers come to learn they may not make it to Red Rock after all... (The Weinstein Company)
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Reviews (18)
A self-indulgent massage of the creative ego, which has grown to manic proportions in the use of epic cinematic toys (Ennio, 70 mm, Nicoreto), all whilst covering itself for three hours with a banal story that commits obscure suicide in the form of the chapter "Earlier that morning," destroying the last vestiges of credibility. The much-maligned first hour is in no way useless, and the snow rascals couldn't have gotten better casting (all of them amazing, but Goggins' Mannix undergoes the most interesting evolution of audience sympathy). Thus, even if common sense starts to politely resist it after all the grand circles, Tarantino proves again how cheap of a whore the audience can be at times and gets hooked by banalities we'd long ago boo others for. If, in the end, you accept the fact that the absence of Quentin's traditional absurdist humor is actually a good thing, you're going to like the film. 4 ½.
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Usually when you go to the cinema to see a film, it's because of the actors or the story, but Tarantino's films are about the director, and that's what makes Tarantino special. Although I was apprehensive at first, along with Inglorious Basterds, The Hateful Eight is his second best work for me. It's slower paced, but still disturbing, and the quality of the performances make it constantly something to watch. Samuel L. Jackson is amazing here, and his story about sucking black cock is already iconic. He is ably seconded by the excellent Jennifer Jason Leigh, who is downright devilish and properly scheming (usually actresses are praised only for their looks and sex appeal, but few can give a great performance like Jason Leigh). Kurt Russell, Walton Goggins and Tim Roth were also good, but still, I find myself missing Christoph Waltz, who outdoes all the actors in the conversation line, I wouldn't mind Anthony Hopkins in Hannibal mode, he could also add some grit. Of course, the excellent detailed gore effects are worth praising as well, and are properly juicy. I also praise the snowy landscape, the tense atmosphere and especially the logically dosed twists that fit like a puzzle at the end. Surprisingly I wasn't bored at all, I give it a full score and I want to see it again! 95%
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The Hateful Eight get off to a weaker and quite long start, but then becomes a hardcore Tarantino movie par excellence. A clever theatre play with audience expectations and reminiscent of both Reservoir Dogs and Carpenter’s The Thing in western guise (the movie adopted three distinctive soundtrack pieces, an isolated frosty winter environment, the scene of finding the culprit in the characters’ own ranks…). Also, thanks to the sinister music by Morricone, this is the darkest, most hateful Tarantino movie, more hateful than the hateful Reservoir Dogs. Samuel L. Jackson, who revives some of the traits of his most iconic character, Jules Winnfield, is probably the coolest actor of today. His black dick story is just topnotch. Quentin knows he can do whatever he wants and we will always fall for it!
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Even though Quentin Tarantino is not my cup of tea, I am always curious about his next movie. However, after the years I already know that he will surprise me with nothing else than the fact that he keeps roping one acting ace after another into his movies. That may be the reason why I still cannot miss single one of his movies. And The Hateful Eight again did not disappoint. If I wouldn’t blame the actors, whom I hold in high respects, I would blame the film itself, which incredibly overacts. The 182 minutes of footage really show Quentin’s big confidence as he thinks that I will fall for a film this long. The problem is that he stretched a good premise twice as long than this kind of film would deserve. For example, the first scene in the post chaise is incredibly deadening and boring, and nothing fundamental happens there. The film gets a really interesting touch only towards the ending, when something finally starts to happen. At the time you can expect basically anything because everybody playing in this movie has a character so absurd that the audience knows that anything can happen. Actors with their polished English from the American countryside create the impression that almost every line uttered in the movie is a catchphrase. And there is quite a lot of them. Tarantino again did not disappoint. However, it never ceases to fascinate me that his fans still buy everything he makes. Just switch the locations for the Second World War and you get Inglorious Basterds. Switch it for the America filled with gangsters and you get Pulp Fiction. Is this movie really that original as it pretends to be?
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Tarantino's Ten Little Blacks... I mean, bad guys in a nearly three-hour intimate snowy movie in a western style. If his plan is still valid, that after ten films he ends up with cinematography and starts with the theater. If so, we have many reasons to feel excited about that. In a same way that the staging department will be since the will be supposed to clean the stage from tons of blood after every performance. And although I have some fundamental reservations about the way it is built in the Eighth (and that it is almost a repetition of the fourth chapter of the Inglourious Basterds) and the tension between the characters should have been even bigger, but on the other hand, brilliant dialogs and cast were flawless. And as a fan of Goggins, I appreciate how he seized the opportunity when someone finally gave him adequate space in the film.
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