Quentin Tarantino marvels his star on Hollywood Boulevard.
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The Hateful Eight is out in United Kingdom cinemas on January 8.
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Throw in the usual Tarantino tropes of sudden spasms of bloody violence with enough profanity to make David Mamet blush and The Hateful Eight is an easy film to admire for its creator’s singular and distinct vision. While I really want it to do well and it would be lovely if it’s popular, movies are for a long time.
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As with his last film, Django Unchained, the bombastic Tarantino still has no qualms about wading into issues of race in America, a topic that remains as polarizing as they come. Part Agatha Christie mystery, part post-Civil War explosion, “The Hateful Eight” is about an ex-Union soldier and bounty hunter (Samuel L. Jackson) holed up during a blizzard with an assortment of suspicious characters and a handful of proud Confederates (Walton Goggins, Bruce Dern).
Overall: Say what you will about the historical legacy of its director, but Reservoir Dogs is an American movie masterpiece, and deserves to remembered, viewed, and discussed within the context of film history well into the twenty-first century.
In a conversation with Jimmy Fallon on The Tonight Show, Tatum admitted that he bugged Tarantino repeatedly while lobbying to be cast in the film.
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Meanwhile, it was recently announced that the soundtrack to The Hateful Eight will be released on vinyl through Jack White’s Third Man Records. This makes his first film so genuinely surprising and viscerally gripping, even if his subsequent attempts to recapture some of that same cinematic magic has proven misguided at best and amorally unfocused at worst. Sadly, the movie gods ultimately took that joy away from us before ultimately delivering Pulp Fiction many eons ago back in 1994. The film also stars Samuel L Jackson, Tim Roth and Michael Madsen. Which, again, would be fine if those monologues nudged the narrative forward even a little bit… but fully half of The Hateful Eight has unspooled before a damn thing happens. Ultra Panavision 70 was used on only a handful of films, including Mutiny on the Bounty, It’s a Mad, Mad, Mad, Mad World, The Greatest Story Ever Told, and Battle of the Bulge. The scene is beautifully shot and compellingly acted, but it’s also an uncharacteristically adult piece of writing for Tarantino, all insinuation and veiled menace.
