And Wei Shu's "The Hateful Eight" not only uses The Thing's male protagonist Kurt Russel (of course he and Quentin collaborated with Quentin in Death Proof), uses The Thing's musicians, uses The Thing in a piece Quentin uses a wider picture (70mm) to carefully describe the crisis, suspicion, detection and mutual killing among a group of people in a claustrophobic space. However, this time, Zoe Bell from Death Proof, well-known to Quentin fans, and Michael Madsen and Tim Roth from Reservoir Dogs joined the camp; of course, how could the ubiquitous Samuel Quentin be missing? Jackson. A strong lineup and multiple accents are Quentin's annual heavy-duty ladder.
If you remember the lengthy bar game in "Inglourious Basterds" and the endless dinner in "Django Unchained", then "The Hateful Eight" It will take you most of the 2 hours and 48 minutes to experience this theatrical interior story again. In addition to the introduction of the characters in the first chapter - the bounty hunter Kurt Russel and his prey Jennifer Jason Leigh in the snow scene met the veteran black but also the bounty hunter Samuel Jackson and the newly appointed police officer in the open location of the snowstorm, the story The rest of the chapters unfold in the inn where they are sheltering from the wind and snow. And this small inn is ambushing a gang of Channing Tatum, setting a trap to save his sister/prey.
This small inn is a closed but not separated space, so Quentin used a large dose of stage play techniques, including the appearance of actors, the presence and the exit, the placement of props (the most typical are snowshoes on the wall, guns And the application of the three of them) and so on, it seems that in addition to the bloody art, Quentin is more and more fully developed.
Quentin, of course, is still working on a Quentinian movie. Don't think it's not Quentin anymore, this time full of political metaphors and stage play. He is still unremittingly looking at all the traditional beliefs and historical plots, and at the first start when the trigger is pulled, blood is blurred, blood is splashed, corpses are separated, and in addition to the familiar aesthetics of violence, there are white people bowing their heads Black people (and this white man walking naked in the snow is supposed to be a metaphor for Jesus?), and feminist overriding...etc.
The music, which ended 2 hours and 48 minutes later, was followed by applause and whistles. No one left early. This is Quentin's charm. If "Inglourious Basterds" is Quentin's re-examination of Nazis and Jews, and "Django Unchained" is about black slaves and white people in the South, then "The Hateful Eight" is Quentin's take on religion, gender, and politics , a comprehensive torture of human nature. Of course, if you don't care about that either, then this is a Quentin-style western movie full of refreshment and pleasure, but not so western, because he only has the bad and the ugly, not the good.
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