In The Hateful Eight, the eighth film by writer and director Quentin Tarantino, the troubled and divided soul of post-Civil War America unveils itself in a snowbound Wyoming haberdashery over the course of one night. Eight strangers (and a not-so-hateful stagecoach driver) are waylaid there by a vicious storm. The one female among them (Jennifer Jason Leigh) is a fugitive with a $10,000 price on her head, and she is chained to a legendary lawman (Kurt Russell) who intends to see her hanged. Others present for a night of treachery and violence include an African American bounty hunter with a controversial military history (Samuel L. Jackson), an English hangman (Tim Roth), and an elderly Confederate general (Bruce Dern).

This is not Tarantino's most resonant film on an emotional level. It is slightly overlong at three hours, including an overture and an intermission. The bloat stems from a few gags Tarantino repeats—the Russell character twice scolds and interrogates men hoping to board his rented stagecoach, the door at the haberdashery needs to be knocked open and nailed shut every time a person comes or goes—and his long-established (often wonderful, at times tedious) tendency to let conversations move in loquacious circles. The film's longest-feeling stretch is the one between the introduction of the haberdashery and the intermission.

Despite these handful of qualms, though, this is a perfectly deranged, incredibly atmospheric, and fairly thoughtful blend of Agatha Christie mystery, social parable, and revisionist Western. Tarantino writes his best and most nuanced role for Jackson since Pulp Fiction as a charismatic and cruel veteran whose every word and gesture hints at a past of incomprehensible strife. Others shine, too, including a feral Leigh (whose smashed-in face is its own spectacle) and a burly, blustering Russell. The 70-millimeter cinematography is crisp and handsome, nicely alternating between gargantuan wide shots of horses slicing through the dense snow and claustrophobic images of shifty-eyed men surveying one another in a cramped space. And none other than Ennio Morricone composes a foreboding and thunderous original score which particularly enhances the first act (it pairs nicely with an introductory shot of a roughly carved roadside crucifixion sculpture).

A-

Random observation: I am not a fan of intermissions when watching a new film with a relatively rowdy/mix-of-casual-viewers-and-fans general audience. I found it...upsetting? or at least, in a way, uncomfortable and distancing when the film paused for the intermission, and people started with the, "They sure say the n word a lot in this!"/"This movie is slow. Should we just go eat dinner?"/"I'll refill the popcorn" chitchat. I would have rather just powered through.

The overture is awesome, though. Love the image and the musical selection.

Another thought: this is not a major problem for me because I am willing to suspend disbelief, but moving forward, I suspect a lot of people will complain how many chances the gang ignores to save Daisy and end the charade. There are so many moments when one or more of them could have pulled a pistol while, say, Russell is busy nailing the door shut or Jackson and Goggins are busy eating.

I can't imagine watching it without the intermission, but I saw it at the L.A. BAFTA screening, so I think my crowd was probably a wee bit more respectful than yours was.

it would've been nice if the intermission had music and an image as well, instead of just a black screen.

great film, though. the intensity of basterds crossed with the rage of django.

gonna love this one

Yah sounds great

I would describe it as Reservoir Dogs by way of Django Unchained's thematic fixations.

So when exactly did the intermission start?

I'm thinking about seeing a 70mm showing soon (my theater that was showing it stopped playing it supposedly 'cause the projector's bulb broke ) but I think this is a film that will get better with repeat viewings. I did enjoy it a lot though, was fun seeing how the story unraveled.

Also was Tarantino's narration really necessary? Idk, I think they could've shown what was going on and the audience would be fine.

After the oral-sex story and before the coffee is poisoned.

inglourious basterds
reservoir dogs
pulp fiction
the hateful eight
django unchained
kill bill
jackie brown
death proof

Pulp Fiction
Inglorious Basterds
Kill Bill
Reservoir Dogs
The Hateful Eight
Django Unchained
Jackie Brown
Death Proof

Not as good as Tarantino's last two films IMO, but this is still a really good movie. The ensemble cast is perfect, but surprisingly I think the one major standout performance was Channing Tatum. Even with his very limited screen time I immediately bought him as the ruthless leader of a gang and he also has one of the best death scenes in the movie. The three hour running time didn't bother me at all, but I didn't see the 70mm version. I could have honestly handled an extra 20-30 minutes though because you totally get lost with the cast in that cabin and the tension/atmosphere is very well done. Loved the score aswell especially in the opening credits and I can easily see how some of that music was suppose to be in John Carpenter's The Thing.

My only gripes are that I wish Kurt Russell was in it more and eventhough SLJ is his usual charismatic, over the top self it is getting kinda old seeing him pretty much play that same character in every movie. Although, that blow job story he gave Bruce Dern's character is probably the most sick and hilarious scene in the whole movie.

Zoë Bell gives the worst performance in the film.

It is rather odd how "Oswaldo" has the specific hanging papers Mannix references. It bugs me. I s'pose one can assume the real hangman is dead in a ditch, and the gang stole his case...but why? Just in case the new Red Rock sheriff was randomly aboard the stagecoach with Daisy and John Ruth? It would be a neater hint if he just said, "No, not on me." Or answer oddly, planting a tiny seed of suspicion or concern in Mannix's head.

As for lists:

1. Jackie Brown
2. Django Unchained
3. Pulp Fiction
4. Inglourious Basterds
5. Reservoir Dogs
6. The Hateful Eight
7. Kill Bill
8. Death Proof

1-4 are very firm. 5-8 could fluctuate.

For real

1. Pulp Fiction
2. Django Unchained
3. Inglorious Bastards
4. Reservoir Dogs
5. The Hateful Eight
6. Jackie Brown
7. Death Proof
8. Kill Bill

1. Django Unchained
2. Inglorious Bastards
3. Death Proof

Pulp Fiction
Reservoir Dogs
The Hateful Eight
Jackie Brown
Kill Bill

I do consider it one film but if I were to split Kill Bill I'd put Volume 1 as second above IB and Volume 2 below Django. Volume 2 just isn't that rewatchable and doesn't age well.

Do you have Netflix? Watch Pulp Fiction now.

I've seen part of Pulp Fiction.

1. Pulp Fiction
2. Kill Bill Vol. 1
3. The Hateful Eight
4. Reservoir Dogs
5. Jackie Brown
6. Django Unchained
7. Inglourious Basterds
8. Kill Bill Vol. 2
9. Death Proof

I wonder how Russell abruptly vomiting blood would play if Tarantino's voice-over did not explain the coffee poisoning. Or if he inserted his explanation after Russell and the stagecoach driver die.

Could be a holy-shit moment for the ages.

yeah, tarantino's voiceover was not only lazy but unnecessary, as russell's dying words reveal that the coffee was poisoned