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The Hateful Eight: Movie Review

  • Merkwürdige Liebe

    Merkwürdige Liebe

    Rated 
    2.5
    Desimartini | Updated - January 19, 2016 10:09 AM IST
    2.8DM (254 ratings)

    Verdict - Perhaps the only Tarantino film which is poorly structured meaninglessly overblown.

    The Hateful EightWatch trailerRelease date : January 15, 2016

    The very first image from “The Hateful Eight” announces with tremendous swagger that this is a Tarantino film: we see a giant statue of Jesus in a snow clad Wyoming, underscored by a superb score by the great Ennio Morricone. It's an “awesome” moment alright, but it isn't imbued with any meaning. There's a lot going on in the film, but it all feels like a rough draft of a film - a poorly realized mystery with haphazard allusions to American history that just doesn't crystallize into something significant. There have been readings of the film which suggest that it shows how misogyny unites parties otherwise at loggerheads with each other due to racial hatred, and I couldn't agree less with that reading. The woman, after all, is a ruthless criminal and all the sexist slurs notwithstanding, the reason why violence against her doesn't strike me as problematic is because she's as much of a scoundrel as the men. But Tarantino constructs a shockingly lugubrious film out of these ideas, surprising for a director this technically precise. He keeps throwing at us several staple cool things - such as the dialogue where Minnie asks her husband to ask him if her ass is fat, or the mention of Red Apple tobacco - and it comes across as Tarantino desperately cannibalizing himself: a style originally formulated by drawing from older films now being drawn from by the same director. A jarringly narcissistic exercise in self-tribute, so to speak.

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