"The Hateful Eight" Review

Title: The Hateful Eight

Directed by: Quentin Tarantino

Screenplay by: Quentin Tarantino

Year: 2015


Quentin Tarantino is the definition of consistent. I have seen a majority of his films, and one thing they all share in common is their entertainment value. His films are an experience and very well crafted and painstakingly written. His last film, Django Unchained, saw him venture into the western genre and he appears to be making a return to it in his latest feature. Not only that, but Tarantino went through the unbelievable effort of shooting this movie on 70mm film. Is The Hateful Eight a magnificent experience, or a despicable waste of time?

In the wintery landscape of post civil war Wyoming, a stagecoach hurriedly travels to seek shelter from a snow storm. Aboard the carriage are a few questionably dangerous passengers. Upon reaching their destination, the passengers find that not only will the storm seal them in the cabin for the next few days, but that there are others just as shady as they are who will be trapped with them.

I can easily say that The Hateful Eight is one of the most singular experiences I have ever had at the movies. I had the pleasure of seeing the roadshow version of the film, which meant watching it on 70mm. Hearing the projector from behind instantly transported me to another time period and the addition of receiving a booklet detailing little tidbits about the film was very nice indeed. I believe that it is a practice that should make a widespread return, as it does go a long way in terms of getting the most out of the theatrical experience.

In regards to the technical quality of the roadshow presentation, it is extremely good, but it depends on your theatre. For instance, the audio in my screening was slightly out of sync. I thought it would have been fixed during the intermission, but I was mistaken. Speaking of which, the inclusion of an overture and an intermission not only benefitted the experience, but also the film. The overture perfectly gets you in the mood and the intermission comes at just the right moment to digest what has happened thus far. The roadshow version is a visual treat for the eyes and quite an event on its own.

Tarantino films have many things in common, and one of them is perfect casting and great performances. Samuel L. Jackson is arguably the most iconic "Tarantino actor," starring in a number of his films. But this might just be his best outing. Jackson is a force to be reckoned with on screen and he can speak this original dialogue like few others. Kurt Russell appears to be fresh off the set of Bone Tomahawk, still rocking that legendary moustache. Russell is predictably exceptional, spewing out unbelievable lines as if it were everyday jargon to him. Describing each actor's performance would get repetitive very quickly, so instead I will just briefly give a specific thought on each cast member's portrayal. Jennifer Jason Leigh is quirky yet mysteriously sinister; Walton Goggins exudes tremendous energy and loses himself in his role; Demian Bichir does not have much to say, but everything he says is perfect; Tim Roth is completely delightful and utterly charming; Michael Madsen knows how to play the silent, gruff character very well; and veteran actor Bruce Dern is perfectly bitter and manages to get an emotional response from the audience during a particular scene.

I always find it a challenge to describe Tarantino's films, but that will not stop me from trying. The Hateful Eight is a western by setting but a mystery/thriller by mood, atmosphere, and execution, with characters that speak in Tarantino's dialogue. This is essentially an rated-R version of Clue that takes place in the old west. I know this comparison has been made many times before, but I can think of no better explanation. And how does this genre blend work? Spectacularly.

This film is fiercely engaging from start to finish, as the the story is a mystery that is told in bits and pieces and the characters are equally complex. Each of these characters is fascinating in their own way, and yet, we know little to nothing about them. The film has a very slow pace, using dialogue to hook the audience rather than large shootout scenes (in Tarantino fashion, that comes later). For the majority of the film, everyone is a suspect. There is a great deal of enjoyment to be had trying to solve the mystery for yourself. The Hateful Eight is a whodunit at heart and the mystery is a damn fine one. We never know whom to trust as we are fed breadcrumbs of information throughout the film to make our own assumptions. The mystery is done very well, but the violence we have come to expect is not lacking either. There is plenty of blood and a satisfying shootout at one point in the film, and that is all I will say about that topic.

The main reason this film works so efficiently is because of the well-polished script. I respect Tarantino more as a writer than a director, as his scripts are just so bizarre yet they prove successful. Tarantino is firing on all cylinders and holds back no punches. There are quotable lines a plenty and fantastic character interactions and conversations. However, the highlight is easily Jackson's monologue to Dern. This is one of the most vulgar things I have heard on screen, and yet it was equally entertaining and hilarious. I will not spoil anything, but I will say that the intermission came at the perfect moment.

The cinematography is deceptively well crafted. The outdoor scenes of the snow-covered terrain are marvelous and brought to life beautifully. But the filming from inside Minnie's Haberdashery is where the cinematography truly shines. It seems odd to use an Ultra Panavision 70 camera for a film that takes place mostly indoors. But this was a move of pure ingenuity. The use of such a camera indoors allows for an immense amount of detail and shot composition. Within a single shot, we can have characters in the foreground and the background clearly visible, along with everything else the cabin is stuffed with. There are countless items, objects, dohickies, and whatchamacallits crammed in every indoor scene. There is literally not an empty corner in the entire room, which is why spending about two hours in a single room never gets tiring. The cabin is vibrant and teeming with history. Coupling this with creative aerial, panning, and tracking shots makes The Hateful Eight one of the best shot films of 2015.

Ennio Morricone is a legend when it comes to film composers. He has scored some of the most iconic westerns, such as The Dollars Trilogy and Once Upon a Time in the West. But his music this time around is very different from his western compositions. The film is riddled with low tones and foreboding, atmospheric tunes. Morricone has outdone himself once again, delivering an effective, highly memorable, and suitable score for this film. Some highlights include "Overture" and "L'Ultima Diligenza di Red Rock."

The Hateful Eight did not disappoint; I had high expectations, and the film managed to surpass them. It is well paced, well shot, well written, well acted, and stunningly enthralling. I cannot praise the actors enough for their incredible work on this picture. I cannot say that any one of them steals a single scene since they all seem to be stealing every scene simultaneously (wrap your head around that). The script has been revised to near perfection, the film is gorgeous to look at, and the music immediately constructs a thrilling atmosphere. The Hateful Eight is essentially Tarantino's way of saying he loves his job, as well as making westerns (this film's title is obviously a nod to The Magnificent Seven). But the whole 70mm stunt was not just a gimmick. The film benefits from the overture, intermission, and special projection. I am not judging the film's quality based on the roadshow experience as not everyone will have the opportunity to attend a screening, but even without it The Hateful Eight stands strong. It is one of Tarantino's best and a definite must-see for those who have the stomach for this tension-filled, eerie, and brutal picture.

Grade: A