“One of Them Fellas Is Not What He Says He Is…” – John ‘The Hangman’ Ruth

Written and directed by legendary filmmaker Quentin Tarantino (Reservoir Dogs, Pulp Fiction, Inglourious Basterds), 2015’s The Hateful Eight is appropriately Tarantino’s eighth cinematic masterwork and his second western following Django: Unchained in 2012. Loaded with astounding performances, captivating dialogue and a story that seems to fly by even with a runtime of almost three hours, The Hateful Eight is a suspenseful and darkly comedic flick where every character is shrouded in mystery and distrust. And, whilst not quite as iconic or as influential as some of Tarantino’s other work, I feel the film is rather underrated when it comes to his esteemed catalogue of entertainingly violent projects, standing firm as a gripping mystery-thriller with a wintry western backdrop.

Plot Summary: While heading toward the town of Red Rock in post-Civil War Wyoming, bounty hunter John ‘The Hangman’ Ruth and his fugitive prisoner, Daisy Domergue, come upon another bounty hunter and a drifter claiming to be Red Rock’s newest sheriff. Despite their distrust for one another, the group travels to a nearby stagecoach stopover, seeking shelter from an approaching blizzard. Greeted there by four other nomads, their shared scepticism reaches its peak as the weary travellers realise they may not reach their destination…

From beginning to end, The Hateful Eight is oozing with tension and Tarantino’s signature style of filmmaking, quickly proving itself to be just as enjoyable as his many other critically acclaimed projects. The story itself bears many similarities to the sci-fi-horror; The Thing (1982), as both stories take place in an isolated location, concentrating on a collection of rugged characters who doubt each others’ intentions. Additionally, both films retain an atmosphere of dread and mistrust that builds almost imperceptibly, concluding with a thrilling climax. Of course, dissimilar to the 1980s classic, The Hateful Eight doesn’t feature an extraterrestrial creature mimicking its victims. Instead, much of the characters’ distrust comes from their varying beliefs and sinful histories, especially since Tarantino doesn’t play it safe in regard to the many racist sentiments that populated America during the post-Civil War era.

With two bounty hunters, a fugitive prisoner, a drifter who claims to be the newest sheriff of the small town of Red Rock, Bob “The Mexican,” enthusiastic hangman Oswaldo Mobray, lonesome cowpoke Joe Gage and the elderly war general Sandy Smithers, all expertly portrayed by Samuel L. Jackson, Kurt Russell, Jennifer Jason Leigh, Walton Goggins, Demián Bichir, Tim Roth, Michael Madsen and Bruce Dern, The Hateful Eight has no shortage of compelling characters and equally compelling performances. As a result of the characters’ myriad of slow-burning conversations, the film consistently retains a solid level of tension via the characters’ interactions, with Jackson being at his best, whilst Roth warrants merit for his performance as his character Oswaldo delivers a number of comedic moments due to his eccentric British accent and joyful outlook on the justice system.

Aside from the film’s occasional use of slow-motion, which appears corny and needless, nearly all of the visuals throughout The Hateful Eight are spectacular, as the cinematography by Robert Richardson effortlessly captures the seclusion of the setting of a stagecoach stopover caught in a blizzard. Providing a pleasant aesthetic change, not only from Tarantino’s prior western, but the western genre in general, visually differentiating itself as a result of the vast whiteness of the creeping cold just outside the stopover’s wooden doorway. Across many scenes, The Hateful Eight also possesses an almost theatre-like quality, which is an intriguing concept that is taken one step too far, in my opinion, when the story is interrupted by a short ‘interval,’ where Tarantino himself narrates what transpired in the past fifteen minutes after a jump cut, instantly yanking the audience out of the immersion of the narrative.

Known for his many western scores, as well as his arrangements for the previously mentioned sci-fi-horror; The Thing, composer Ennio Morricone similarly backs up many of the film’s suspenseful moments flawlessly through tracks like Overture and Neve. In fact, according to Tarantino, some of Morricone’s compositions for the film are actually unused pieces from the gruesome ’80s masterpiece. As brilliant as the original score is, however, The Hateful Eight conversely makes effective use of audible restraint during many scenes, with the blistering wind of the approaching blizzard pounding the stopover’s walls only escalating the build-up of tension.

On another note, cinephiles familiar with the director’s illustrious filmography will have a field day checking off the countless Tarantino tropes, from the chapter headings to the Red Apple tobacco reference and a final act full of glorious blood and guts. However, one lesser-known tidbit is Tarantino’s continuous collaboration with practical effects artist Greg Nicotero, the effects guru behind the post-apocalyptic television series; The Walking Dead, along with an array of Quentin Tarantino’s other projects, including Kill Bill: Vol. 1 (2003), Inglourious Basterds (2009) and Django: Unchained (2012). Comparable to those flicks, the practical effects throughout The Hateful Eight are brutal and virtually cartoonish in design, lending themselves to some of the film’s most memorable moments.

In summary, The Hateful Eight unsurprisingly offers another well-crafted jewel from Quentin Tarantino, integrating his signature blend of suspense, humour, snappy dialogue and over-the-top ultra-violence, all whilst demonstrating his grip on the filmmaking craft has in no way diminished amidst his many years of operating in the ever-evolving film industry. As such, The Hateful Eight is certainly not one to be missed. Rating: 8/10.