This movie is called The Hateful Eight for a damn good reason. We should understand from the title that we are going to see a bunch of cold blooded murderers with nothing in their heads but killing and not getting killed. The black comedy, which is absolutely tremendous, mixed with one of the finest ironies (like after Warren narrates the story of the General’s son and his Johnson gets his Johnson shot) creates, once again, one of those fine Tarantino movies that blur the line between funny and gore. Tarantino out did himself, creating an artistic violence and a pure black comedy to make us more comfortable with it. The movie assembled perfectly the image of those times, when everybody hated everybody and the finest job was that of a bounty hunter.


The irony and the pure cinematographical art hit us right in the stomach when Taratino uses the 70 mm Panasonic to capture the best surroundings in a small haberdashery that gets spliced in two parts (the Nord and the South) by the little British man (played by Tim Roth), with the table as common zone. In the midst of this amalgam of different nations with an inherent hate for the others, but still rooted in the same land, the United States of America as we know it, was formed. And the movie’s conclusion, despite the gore and the hatred, is rather positive and smiling, showing us Mannix and Warren like two little boys, laughing and bleeding together, like nothing had happened and the hatred had completely gone off.

One of the most important elements is the movie was the uncertainty of the facts, because throughout the story, we find ourselves asking what is true and what is false, and we are left with some questions we will never find the answers for (Did Warren actually meet the general’s son? Was Mannix the sheriff in Red Rock?). And once again, Tarantino uses the irony to place in the midst of the action a character who reminds us more of a Sherlock Holmes than about Leon the Professional, Major Marquis Warren, played brilliantly by Samuel L. Jackson. And it amazes us after he almost solves the entire mystery (except a small detail that will cost him his Johnson).

Jennifer Leigh was fantastic, she truly deserved her Oscar, and one smart detail is the relationship between her character and Joh the Hangman, who was going to hang her. If we take a good look, they really look like a couple of married adults, with a noisy husband who cleans her wife’s mouth after he punches her in the face.

I don’t think is necessary to tell you how awesome Ennio Morricone’s score was, but I have to say that it created a new dimension for the suspense and the macabre scenes of carnage. The violence and the gore are, in this movie at least, artistical procedures that help us understand better people’s nature in that period of time.

Maybe the only minus this movie had was that some characters were lacking essence and soul (Joe Gag for example), and some scenes were ridiculous (which maybe was Tarantino’s intention). But still, these characters were there to help a prisoner escape and were ready to kill anyone who would pose as an obstacle, a fact that completely did the job: to create a representative mosaic for those ages full of terror, hatred and violence.

The gang of killers was good, nicely played by a tremendous cast. We have to ask ourselves though, why the fuck did Tarantino make Tim Roth play Christopher Waltz?, because Oswaldo Mobray was clearly a role that Waltz would have done. But what made me the best impression was Walton Goggins and his role as the Sheriff of Red Rock, Chris Mannix. The dude was flawless and surprisingly quotable. Alson, I think that Channing Tatum deserved more time on the screen.

Finally, all I can say is that Hateful Eight was the most Tarantino-ish movie out there, bringing out the most of his style, with the best gor, the deepest meaning, some of the funniest pieces of dialogue that will remain forever stuck in our heads, a brilliant cast, and not least, an out-of-this-world score composed by Morricone.