Wild Fun That Comes With A Big Price Tag

Rating: 3/10 (21 December 2015)

Based on the 168 minute version.
There's no denying Quentin Tarantino's twisted genius and perverse vision. His films are unapologetic challenges to share the roller-coaster as long as one accepts Tarantino run the ride. No one seems to mind. It may be time to challenge that precept.
In a "Playboy" interview, Tarantino stated, "I just don't want to be an old-man filmmaker." Pure Tarantino, "The Hateful Eight" is poetic, profane, laconic, really nasty, bloody as all hell, and meditative; the first half - uncharacteristically old man-y, moody and brooding with meaningful dialogue sharp as a razor. There's promise of a re-think as if Tarantino's voice finally broke to adult from adolescent. Then the film derails to the usual Tarantino / Three Stooges high jinks.
This filmmaker is a master at creating tension; cinematic foreplay teasing and teasing until big, sweet, orgiastic release in blood and guts. He also deconstructs and spins plot twists and turns into gold. That task is easy in, essentially, a stage play with eight trapped in one room. A Tarantino film with social commentary as text, the subject under the microscope is race hatred. Setting the film post-Civil War allows the saying of things unacceptable in contemporary society. Like "Django Unchained," nary a few minutes pass without a "ni**er." And the room is divided into North and South.
The length works against this film. At 168 minutes it was quite enough. The added twenty-odd minutes in the roadshow version might make the experience interminable. The film runs out of steam as it plays out and plays out with dialogue between the bang-bang – and there is plenty of blood.
Then there's misogyny. "The Hateful Eight" revels in the abuse of Jennifer Jason Lee, even with her portrayal of a scheming, cold-hearted killer. Her multiple beatings and battered face appears as if a domestic violence victim – most unappealing.
The cast does well with the material. There are no standouts, really, but Tim Roth channels Cristoph Waltz who must have been busy.
The cinematography is spectacular. Not necessarily the lighting, but the incredible use of the wide screen frame. The look and feel is evocative of David Lean epics Tarantino emulates even to the use of 'Roadshow', a practice that passed out of favor fifty years ago. Films are no longer shot this way. In this regard it was a pleasure to watch.
If Tarantino wished to create the emotion of hate in the audience, he succeeded. The hate spills over the footlights, but there is a fine line between using verbiage and posture to underscore race hatred and making a racist (and misogynistic) film. More than in other films, "The Hateful Eight" crosses that line. Racists hide in plain sight and race bait. This film again leads to question Tarantino's personal attitude. He becomes more suspect peppering scripts with "ni**er" - even in his contemporary films (joining real life "Black Lives Matter" protesters notwithstanding). Every use of "ni**er" is another nail in the coffin. Also, his neurotic mentions of big black c**k in several films (here, sucking) skews toward wish fulfillment. As Black critics have said, "Something is wrong with this guy (Tarantino)."
This is a very ugly, distasteful, caveman film within grand entertainment. That push-pull leads to a zero sum, and self-reflection as to what exactly is entertaining about "The Hateful Eight." Given the dichotomy, not a lot.