Are you thrilled to experience Ennio Morricone’s first score for a Western since 1981? The film opens with a few minutes of a static image with OVERTURE printed on it, to give the score a chance to get going (and a chance for the editor in me to tut-tut at the poor kerning – I would have reduced the space after the “O” and the “R”), and there is wonderful moment where the classic Morricone “ah-ah-aaaah” voices swell over a slow-motion shot of horses struggling through the snow, breathing heavily. But it has nothing like the resonance of his Sergio Leone scores. Though Morricone recently won the Golden Globe for best score, The Revenant and Sicario are both more deserving
Are you excited by seeing it in 70mm Panavision, on Leicester Square Odeon’s huge screen? Tarantino has revived this wonderful (and very expensive) format simply because he has the clout to do crazy expensive s*** like that. However, the entire movie takes place inside either a stagecoach or a single-roomed bar, so the effect is an almost entirely redundant marketing gimmick. Makes for nice lighting, though.
Do you enjoy Tarantino’s talk-talk? This has it in spades. The whole thing is talking, more even than any other Tarantino film, let alone any normal director’s films. You can see why Tarantino is thinking of turning The Hateful Eight into a stage production. But boy does it work. It’s peppered with terrific lines, and utterly absorbing for the whole of its length.
Do you like Tarantino’s bang-bang? It’s not until half-way through the three-hour movie that there is any serious violence. (Some jokey violence, mind you, involving Jennifer Jason Leigh being repeatedly slammed in the face by her bounty hounter, ha ha.) But the climax is every bit as blood-drenched as Reservoir Dogs.
Do you think Samuel Jackson is the coolest motherf***** on the big screen? Then you’re definitely in luck. This could just be his finest role. He carries the film. All the big speeches are his, and he speaks them with the captivating slowness, emphasis and deliberation of a master story-teller. And if anyone can tell me where to get that awesome yellow-lined coat, I’m buying.
Do you believe Tarantino can coax the coolest performances from just about anyone? Yes, the director who resurrected Travolta’s dead-duck career is on form again. Everyone in this ensemble cast is terrific, with special plaudits for Tim Roth’s hilarious and utterly against-type upper-crust British accent. There’s just one exception. Not even Tarantino can make Channing Tatum (thankfully a tiny role) look or sound like he should be in a Tarantino film.
Do you like Tarantino’s time shifts? There is a time-shift scene in The Hateful Eight, where you see a past event from a different character’s perspective. It actually adds very little, however, and feels like Tarantino’s doing it just because it’s expected of him.
Do you feel Tarantino ain’t what he used to be? Let’s face it: Tarantino probably won’t ever better Pulp Fiction. But then again, probably no one will ever better Pulp Fiction; it’s one of the most extraordinary and influential films ever made (and one I’m proud to have nabbed as a cover-interview exclusive, at Time Out, before Empire or anyone else got their hands on it). And though I had my problems with Django Unchained (which I wrote about here), he’s still one of the most interesting writer-directors working in Hollywood, and this film absolutely doesn’t disappoint.
In the final analysis, do you like the sound of a spaghetti western with the same vibe as Reservoir Dogs written as an Agatha Christie locked-room mystery? Then you’ll probably like The Hateful Eight.