Review – The Hateful Eight

three rows back

‘Event cinema’ is a term that has largely been reduced over the years to that of the tent pole picture, so it’s nothing if not refreshing to see a filmmaker so brazenly and assuredly resurrecting celluloid’s largest format when presenting his latest work.

The Hateful Eight is often provocative and brilliant, but Tarantino has let himself become his own worst enemy The Hateful Eight is often provocative and brilliant, but Tarantino has let himself become his own worst enemy

Everything about writer/director Quentin Tarantino’s The Hateful Eight draws attention to itself, from the use of Ultra Panavision 70mm – a film connoisseur’s wet dream and a format so rare (barring Paul Thomas Anderson’s The Master) as to be virtually unheard of since Hollywood’s golden age – to the employment of an overture and intermission; giving the movie a brazen air of regality.

The promise of extra footage to entice people to seek out the film’s 70mm ‘Roadshow’ isn’t the first time QT has presented two different versions of…

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