Review: The Hateful Eight

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DIR: Quentin Tarantino • WRI: Quentin Tarantino • PRO: Richard N. Gladstein, Shannon McIntosh, Stacey Sher • DOP: Robert Richardson • ED: Fred Raskin • DES: Yohei Taneda • MUS: Ennio Morricone • CAST: Samuel L. Jackson, Kurt Russell, Channing Tatum, Bruce Dern, Jennifer Jason Leigh

Quentin Tarantino hates you. He really hates your guts. His hatred for humanity is all too clear from this hateful film The Hateful Eight, coincidentally his eighth feature film and by far his worst. He feels no shame for this utterly brazen and immense hatred. He is proud of it. This film is his best expression of contempt for his audience and indeed life itself.

Do you agree with Danny Boyle’s rule-of-thumb that there’s rarely a good reason for a film to be longer than two hours? Quentin Tarantino loathes you. He will punish you with a pace slower than the melting of glaciers for more than two and a half hours for a story easily told in half the time. He will draw scenes out as long as they can be with over-written repetitive dialogue bereft of any charm it had in his other films.

Do you love the characters he and his collaborators have brought to life on-screen before? Tarantino’s had enough of that for now. The clue is in the title. Every character in The Hateful Eight is hateful in a literal sense, so despicable that there is no reason to be invested in what happens to any of them. When a mystery unfolds surrounding the poisoning of coffee, that could still have been an interesting dynamic to see play out, had it not taken almost two hours of tedium for the film to reach that point.

Do you invest in his reputation for writing strong female characters? Among the male-dominated cast of characters, the outlaw Daisy Domergue has tenacity and roughness in the hopes that these superficial traits hide that she is a damsel-in-distress and a plot device. She is also loathsome in every way, giving you no reason to wish her success in overcoming the captors bringing her to justice. At the same time however, you have no reason to enjoy the really distasteful and repeated violence inflicted on her.

Do you appreciate his attempts at writing strong characters for people of colour? He wants you to shove it. Sit back and watch Demián Bichir wasted on a stereotype of Mexicans so egregious, that even Robert Rodriguez would surely reprimand him and that’d be coming from a director who once cast Willem Dafoe in brown-face. Hear so much about the vivacious shack-owner Minnie and then discover an outdated black mammy caricature when she shows up. Assume Samuel L Jackson’s character is an upright bad-ass who walks the path of the righteous man, as it were. Turns out he’s a lying scoundrel who rapes people as punishment.

Oh yes. In what has to be one of the film’s most bizarrely misjudged scenes, of which there are far too many to choose from, he recounts to the father of a man he murdered that he had forced the man to fellate him. This man was a racist confederate so that might make one less inclined to care about his well-being. If, however, Samuel L Jackson’s character reveals that he considers rape a fitting punishment, hilarious in its symbolism, one also cares significantly less about his. As you should any character who considers rape appropriate in any circumstance ever.

But perhaps you like it when Tarantino pushes limits? Well just because a film is “challenging” does not make it good and the circular logic that anyone who doesn’t enjoy a film like this is either a baby or a prude is such a lazy strawman defence. Tarantino still hates you though and he seems intent on making you regret what you wish for. It’s not just wounds and severed limbs that gush with obscene amounts of blood; poisoned characters vomit blood in such ludicrous quantities that it passes beyond the cartoonish fun of his previous films and just becomes obnoxious.

Did you like how brilliantly Pulp Fiction played around with chronological order? Tarantino hates that you did, so very much and this time around, he is going to have a clumsy, snail-paced flashback entitled “Earlier that morning…” more than two hours into this bloated mess.

Do you care about film in general, as a medium for visual storytelling? Tarantino despises you. This brings us to the moment where he atrociously fails as a filmmaker. There are several scenes of characters talking about each other’s back-stories. We do not see these past exploits; we see characters sitting in a coach or a shack talking about these past exploits even when they sound like more interesting stories to see than the film we got. Characters are not revealed through action but through other characters talking about them. This is not how film as a narrative medium works and it is astonishing that a seasoned filmmaker with Oscars and a Palme D’Or needs this explained to him.

The truly unforgivable lapse in competency comes long after the film’s half-way point when we hear a narrator’s voice that had not been introduced previously, explain additional details about what different characters are doing. Rather than conveying that information visually. LIKE A FILM. Who is the narrator? Quentin Tarantino himself, of course. This is basically a filmmaker of iconic status, openly admitting that he has failed as a filmmaker. The film got to the point where his footage was no longer good enough and he personally stepped in to fill in the gaps. That this voice-over is established so late in the film is what makes the crutch so glaringly obvious.

This, along with so many other baffling decisions, amount to such an abject failure in basic, fundamental, visual storytelling that it could only have been deliberate. It is as if Tarantino is intentionally, purposefully trolling the world by setting out to frustrate audiences as much as possible. And the only defence flimsier than “you just didn’t like it because it was challenging” is “I don’t make films for audiences; I make films I want to see”. This is a new low for him and you can absolutely afford to skip it.

Jonathan Victory

18
167 minutes (See IFCO for details)

The Hateful Eight is released 8th January 2016

The Hateful Eight – Official Website

 

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Cinema Review: Django Unchained

 

DIR/WRI: Quentin Tarantino • PRO: Reginald Hudlin, Pilar Savone, Stacey Sher • DOP: Robert Richardson • ED: Fred Raskin • DES: J. Michael Riva • CAST: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio, Kerry Washington
 

The last few years have seen Tarantino’s star wane – his name, once a byword for a kind of hyperactive cinema offering snappy dialogue and copious un-PC violence had curdled audience enthusiasm to boredom as he seemed incapable of evolution.  While his naughties’ output occasionally hinted at an old genius, most particularly with Inglourious Basterds, it has taken a film like Django Unchained to collate his messy strands of filmmaking back into an entertaining movie.  Think Blazing Saddles meets Mickey and Mallory!

Django Unchained hits all the right notes for a Tarantino fan – from the soundtrack and dialogue to the schlock violence and derision, he conjures a reimagining of history so brutal and entertaining that the long running time practically flies by.  There are faults, to be sure – indeed, even fans of Tarantino will sigh as his megalomania takes over from time to time, shoe-horning his ego, and himself, into unrelated scenes.  And these faults do trip up an otherwise seamless flow, leaving plenty of room for after-film arguments across pints or coffee…which is exactly what a non-film-schooled director would want from his audience.  Of course, then there is the racism – Tarantino has been building towards a film like this his entire cinematic career, from using Samuel L. Jackson as a sort of muse to his own embarrassing efforts at ‘gangsta’ talk.  You can’t help but feel that he’s getting extreme pleasure from the artistic licence afforded him by setting his movie pre-Civil War, and making his hero a freed slave.  As a revisionist Western it has holes on a par with Wild Wild West (please – no more cowboy ray-bans!), but fans of Tarantino will know that his coolness permeates even to the past.  And copious use of the ‘n’ word aside, this reimagining of racial warfare in the Deep South manages what Basterds did not in creating a wholly blasphemous take on history that actually rings (somewhat) true.  More than that, since we now have Christoph Waltz on our side, we can finally cheer the good guys with undivided gusto.

The casting is, of course, the real revelation.  Waltz takes Tarantino’s sometimes mangled use of language and ups the ante on its coolness – nobody else could deliver his words with such panache and class.  His interpretation of a bounty hunter caught between common humanity and simple moneymaking is by turns hilarious and excessive, but always mesmerising.  The usually unlikeable Jamie Foxx takes the melodramatic title role of Django, and succeeds in giving life to Tarantino’s immense creation.  Foxx excels by not taking himself too seriously, and the ridiculous scenarios and fantastical lines flow much more smoothly for having no thespian illusions blocking their way.  Along with Waltz, the big talking point has been Leonardo DiCaprio’s portrayal of plantation owner and all-round bastard, Calvin J. Candie – and oh does he fill that role with relish!  His over-the-top accent and ridiculous cruelty anchor the movie in its time – pre-Civil War Southern USA, where white men ruled with an iron fist.  Ably helped by his ruthless slave confidant Stephen (Jackson), their interplay is so powerfully malicious and hyperbolic that only Django’s dramatic drive for both his freedom and his wife can balance their scene-stealing machinations.

The running time does hint at Tarantino’s inability to find fault with any of his creations – he can rarely bear to leave anything on the cutting room floor, and there are certainly scenes that could have benefited from the chop.  Despite its flaws, though, Django has so many parts that offer pure entertainment that – as long as you don’t take it too seriously – it’s nearly impossible not to be invested in some way.  The bottom line is that while it is politically-incorrect, facetious, ridiculous and crazy, it is also Tarantino at his best – kinetic, irreverent and downright entertaining!

Sarah Griffin

Rated 18 (see IFCO website for details)

165 mins

Django Unchained is released on 17th January 2013

Django Unchained – Official Website

http://www.youtube.com/watch?v=v-4r_B8hY_I

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