Review of The Hateful Eight (2015) by Amy-Lauren B — 09 Aug 2016

Tarantino is a living legend and a modern auteur. He's one of those notorious directors that people go to film school to study. And rightly so, he's consistently made cinema that pushes the envelope and ask questions about society through metaphors and allegory, in script and on screen. The Hateful Eight is no exception. When the paths of bounty hunters, criminals and travelling strangers cross in this comedy western, you can expect all of Tarantino's calling cards: wit, ranting monologues and blood. Oh yes, there most definitely will be blood.

Films like The Hateful Eight are a visceral and auditory experience, Tarantino being one of the few directors which actively considers music while writing dialog and narrative. I'd say the soundtrack doesn't quite have the same edge as Django Unchained (2012), which used classic and contemporary tracks to great effect. It's nice to see some recognition by one of the few Academy Awards The Hateful Eight is up for, with Ennio Morricone and his Original Score.

Robert Richardson also gets a nod for his cinematography, which is rich despite the (at times) muted tonal palette. We get large, open vistas in the opening sequences, but soon find ourselves trapped in the confides of a log cabin for the remainder of the film. The rag-tag ensemble cast must wait out a snowstorm, and we must spectate as the drama, action and mystery unfolds. The set pieces and (often lengthy) monologues have the feeling and context of a play: the first two acts could easily transition to a theatrical setting. After coasting along at a slow pace, and with all the talking is out of the way, the final act plays out in full throttle. Over-the-top gory and violence ensues with unrelenting fury, and we finally get some answers. Imagine Cluedo in real life, but strictly for grown-ups.

The Hateful Eight is however an assorted watch. I felt entertained most of the time, but also had the same overarching problem with it that I have with all Tarantino films in recent memory: it's too damn long. I love a ten minute Samuel L. Jackson monologue as much as the next gal, but it becomes an issue when you lose the momentum you've been building in favour of these exchanges. I felt my attention dwindling as we got to the midway point, but luckily got back involved in time for the finale. The standout performance for me came from the only female in this masculine heavy narrative - Daisy, played by the formidable Jennifer Jason Leigh. In the custody of bounty hunter John "The Hangman" Ruth (Kurt Russell), Daisy is a force to be reckoned with and one of the most dangerous people in the room, women or not. Her not-so-smart mouth gets her in trouble more than once, and Jason Leigh's unhinged performance provides crucial drama and black comedy. Fingers crossed for her come Oscar's night in the Supporting Actress category - though I think she will most likely be overlooked.

In summary, The Hateful Eight is a character driven theatrical flick, and Tarantino ticks all the usual boxes; wordy, witty, dripping with blood and bum-numbingly long. It will most likely please Tarantino fans and lose mainstream audiences at the halfway point of its near-3-hour runtime.