Dan the Man's Movie Reviews

Next time a blizzard comes, stay away from the cabin with the most assassins.

In post-Civil War Wyoming, John “The Hangman” Ruth (Kurt Russell) escorts fugitive Daisy “The Prisoner” Domergue (Jennifer Jason Leigh) to Red Rock, where she’ll be hung for committing all sorts of evil murders and crimes over the years. However, along the way, they encounter a bounty hunter by the name of Major Marquis “The Bounty Hunter” Warren (Samuel L. Jackson), who is also heading out to Red Rock to get money for a few criminals he killed himself. Ruth allows for Warren to hop aboard, but they soon realize that a deadly blizzard is coming their way. With this information known, they decide to hold out in a little comfortable and cozy cabin where everybody knows and loves called “Minnie’s Haberdashery”. There, the three meet a few shady, but altogether, colorful characters who may, or may not, be up to any good or actually be who they appear to be. There’s Bob “The Mexican” (Demián Bichir), who claims to be one of Minnie’s helpers, even though they’re nowhere to be found; Chris “The Sheriff” Mannix (Walton Goggins), claims to be the soon-to-be sheriff of Red Rock; Oswaldo “The Little Man” Mobray (Tim Roth), is another one who claims to be the soon-to-be hangman of Red Rock; Joe “The Cow Puncher” Gage (Michael Madsen), claims to be just a lonely ol’ cowboy looking to spend the holidays with his mommy; and ex-General Sanford “The Confederate” Smithers (Bruce Dern), well, doesn’t claim to be much of anyone. He’s just holding out and waiting for this storm to pass, which is what everyone else seems to be doing, until it becomes clear that someone is up to no good and needs to be taught a lesson.

Sort of bad-ass.

Quentin Tarantino makes the sort of movie he wants. Nobody’s going to tell him “no”, nor will anyone tell him “how” – they’ll just hand him a bunch of money, plenty of freedom, and see what happens. Due to this, his movies can tend to sometimes feel overlong and excessive, which is why, when it turned out that the Hateful Eight was going to be over three hours, with a short, 10-to-12 minute intermission, automatically, most people will be turned off, as well as they should.

However, here’s the funny thing about the Hateful Eight – it’s actually pretty deserving of its three hour run-time.

Much of this is due to the fact that Tarantino doesn’t try to, in any sort of way, shape, or fashion, rush the plot here – instead, he takes his time to give us those delicate, but juicy character-moments we oh so appreciate and adore from someone as immensely talented as he is. Nobody really breaks into a conversation that feels useless, unnecessary, or unneeded – everybody here has a reason to talk about what they want to talk about and, honestly, it’s hard to not be intrigued by them right away. After all, this is Tarantino’s dialogue and as is the case with Tarantino’s dialogue, it’s punchy, fun, energetic and most importantly, exciting. The issues that have chased Tarantino since the beginning of his career in that his characters speak in that heightened sense that no other normal human would speak in, may still be here, but honestly, who gives a hoot?

It’s Quentin Tarantino! You know exactly what you’re going to get, as soon as you walk into one of his movies.

And even though most of the promotion and hype surrounding this movie has been about the fact that it’s filmed and presented in 70 mm, the real kicker here is that, aside from at least 20-25 minutes of wide landscape shots at the beginning, middle, end and sporadically throughout, the majority of the movie takes place solely in this one room. The movie looks great to begin with, as we’d expect from Tarantino, but the reason why the 70 mm matters so much in a story like this is because it gives you a greater sense of just how confined and stuck these characters are; while it may appear that there’s a great big world for these characters to go outside and venture out into just in case they have to, because there’s a deadly blizzard going on right outside, they are all stuck with one another.

Which, as you could probably guessed, leads to plenty of scenes where characters talk to one another, get on each other’s nerves, and come pretty damn close to killing the other. This is, of course, all terrific and great to listen to, adding more of a sense of intensity and suspense to the chilly air of that Tarantino, as well as his terrific ensemble create. Any lesser director/writer would have been bored with this one room setting and decided to take their movie elsewhere and jump around a bit, but Tarantino knows and understands the sheer power there is in watching a bunch of heavy-hitting actors stand around a room, watch one another, and get ready for the other shoe to eventually drop.

And when that shoe drops, well, it’s pretty crazy, violent, and gory, but still all so pleasing.

However, at the same time, there’s also that annoying feeling that perhaps Tarantino loses himself a slight bit here. For one, the intermission that takes place is perfect because it sets up a whole other movie, with a whole other tone and feeling altogether. It’s a smart decision on Tarantino’s behalf, but what he does with this second-half is, sadly, a bit disappointing; though the movie doesn’t necessarily feel long, there’s a 20-minute sequence that, in hindsight, didn’t really need to be included at all. Without saying too much, it’s a sequence that takes us a tad away from the current on-goings of the plot and instead, give us another view to look at the story; while it’s a tricky device that Tarantino uses well, it still doesn’t seem like it needed to be included at all.

As an audience-member, it was already easy enough to connect the dots as is, so why is there the need to explain certain plot-elements even further than what’s already needed?

And this matters because, right after this point is where the Hateful Eight started to feel like a bit of a retread of what Tarantino has done many times before and, mostly, better. There are still certain ways that Tarantino keeps this plot moving in an efficient manner, but by the same token, he also seems to be utilizing the same sort of twists and turns we’ve seen him roll with before and, honestly, it’s a bit of a shame. This isn’t to say that Tarantino misses the mark here, but considering that the bar has been raised so high in the past few years with Inglorious Basterds and Django Unchained, really, anytime it feels like Tarantino isn’t fully giving his all, can definitely be a problem.

Kind of bad-ass.

This is all to say that the Hateful Eight definitely isn’t Tarantino’s best, but also isn’t to say that it’s his worst, either.

It’s just that it’s very good, yet, also feels like it’s destined for something far, far better than what it ends up being.

Through it all though, the ensemble, as expected, works perfectly. Though it did disappoint me a tad bit to see a lot of familiar faces show up to work with Tarantino again here, it still doesn’t matter because they’re all so great as is. Samuel L. Jackson continues to get his meatiest roles from Tarantino and as Major Marquis Warren, he gets to show us a man who has been through it all in life and isn’t afraid to get violent when he needs to; Kurt Russell is having a blast as John Ruth, someone who seems to have a decent-enough heart, but is also just as savage as the rest; Tim Roth is joyously fun as Oswaldo, someone who seems way too cheery to be a hangman; Michael Madsen is, once again, cool and stoic as Joe Gage; and Bruce Dern, playing the ex-General of this story, is wise and grizzled, but also adds enough depth to this character that he feels like more than just “the old man of the story”.

As for the newcomers, they’re all amazing, too and show why they were perfectly picked by Tarantino to deliver his sometimes challenging, but altogether lovely dialogue. Demián Bichir, despite playing what appears to be just “the Mexican”, also seems like there’s more to him that he’s not letting on and it’s cool to see someone like Bichir, play both mysterious, as well as funny; Channing Tatum shows up in a small-ish role, too here, and does a fine enough job that it makes me definitely want to see him appear in more Tarantino flicks; and even though he already appeared in Tarantino’s Django, Walton Goggins is electric as Chris Mannix, the supposed-sheriff who we may not be able to trust, but because he’s sometime so stupid and naive, it’s almost like he’s telling the truth.

However, the true star of this cast, believe it or not, is actually the sole woman of the main cast: Jennifer Jason Leigh.

As Daisy Domergue, Leigh does a lot of standing around, staring and looking as if she’s up to no good and nine times out of ten, that’s pretty much the case. While we’re told that she’s as bad-ass and as dangerous as any of the other men surrounding her, Leigh still shows that through her odd, occasionally hilarious performance. Though she may appear to be nothing more than just a basket case, there’s something about Domergue that, underneath it all, still seems present and this is perhaps the main factor that keeps this character interesting, as well as compelling. Domergue, just like every other character here, is a total mystery to us and while we may never know what to expect next from them, we sure as hell know it’s not going to be an act of kindness. And that’s why Leigh, who we haven’t seen much of in the past few years, is absolutely brilliant in this role, giving it all that she’s got, but at the same time, still seeming like she’s not really trying at all, either.

Consensus: Though the Hateful Eight isn’t Tarantino’s best, it is still fun, well-acted and compelling enough to keep everything moving at a fine pace, even despite the three-hour long run-time.

8.5 / 10

Totally bad-ass. Back off, boys.

Photo’s Credit to: IMDB, AceShowbiz