‘The Hateful Eight,’ a Western Tarantino

Rose Heppner, Staff Writer


Samuel L. Jackson in “The Hateful Eight,” courtesy of The Weinstein Company.

Southern draws and an unfolding mystery both demanding an answer to the question: who wants to rescue Daisy Domergue.

“The Hateful Eight,” Tarantino’s newest edition to his Oscar‐worthy collection of films, takes a new spin on murder mystery.

Directed and written by Quentin Tarantino, his film takes place post Civil War, nearly every other word being “molasses” or a racial slur. Produced by the Weinstein Company, and lasting around three hours and seven minutes, this film stands out due to its unique spin on a‐typical western films.

“The Hateful Eight” is a new breed of Tarantino. While staying true to the overuse of dialogue, maintaining a cast of stars originally seen in “Pulp Fiction,” and possessing a plot

that deliberately takes three hours to unfold, the themes of vengeance and deception are one of a kind.

The film begins as Major Marquis Warren (Samuel L. Jackson) is picked up by bounty hunter John Ruth (Kurt Russell) and his bounty Daisy Domergue (Jennifer Jason Leigh) in a carriage. The carriage travels down a snowy path, eventually encountering another stray hitchhiker, Sheriff Chris Mannix (Walton Goggins), who is lost in the snow.

The four unlikely passengers are taken to a small cabin, of which Major Marquis Warren is far too familiar with and far too disturbed upon discovering its absentee landlord. Instead of the friendly black family who normally oversees the inn, he is surprised to find yet another four strangers standing in her cabin.

The rest of the story unfolds as Major Marquis Warren sets to discover who these seven other men are and why they have come to an obsolete, remote lodge.

“The Hateful Eight” is essentially a western “Reservoir Dogs,” with a consistent flow of clues but never enough to fully put the puzzle together until the very end. By that time, half the cast is dead or dying and there is very little distinction between the villain and the hero.

As an avid Tarantino film viewer, “The Hateful Eight” does not necessarily take its place among some of his very best works. Perhaps it was the overuse of drawn out southern‐based dialogue that was not pleasing to hear, or the often confusing character development.

Viewers may be unsure if what is actually happening because of the string of lies made up by the characters.

Although providing a slow progression, building the plot and developing the depth of the setting, “The Hateful Eight” does pick up speed with endless gunfights and overloaded deception.

The mystery behind the film is its saving grace.

Any Agatha Christie or Sherlock Holmes enthusiast would be at the edge of their seats, working out the clues in their head and hoping to reveal the ending before Tarantino chooses to.

“The Hateful Eight” is a film guaranteed to both interest and perturb its moviegoers as it offers every aspect of Tarantino’s typical style. Even if the audience is not impressed by the gradual plot growth, the excessive violence is sure to hold interest.