I just viewed Quentin Taratino's latest, "The Hateful Eight" and, for all the excesses and repetitions of favorite gimmicks that seemed, to me, half-hearted and coasting with his last two films ("Inglorious Basterds", "Django Unchained"), his new western is something of a return to form. Not that he's knocked off any of those tricks that made him famous--unnaturally formal dialogue cast in different accents and idioms, a surfeit of action-stopping siloquies, title cards and the "Pulp Fiction" trick of letting the narrative unexpectedly backtrack to reveal elements that were at first withheld. "Hateful Eight", though, sees these elements deployed with a conviction and a sure hand that lures you closer to the prolonged doings of these trapped miscreants even as your wishing the pace would pick up.
Not to give too much away, but the plot concerns a bounty hunter , played by Kurt Russell, transporting a condemned prisoner, played by Jennifer Jason Leigh, to Red Rock, Wyoming for hanging and to collect a reward. Due to a horrible winter blizzard blasting over the mountain , the private stage coach the Russell character had hired for the transported unexpectedly takes on more passengers stranded along the pass and the coach is forced to stop at a way station until the storm passes, a station already filled with a collection of characters no one would not want to witness in the same room. Tarantino is generous with this loquacious dialogue and the exceptional cast each have their turn introducing who their characters, revealing a back story and a chance to reveal an articulate, if demented, world view and how it came to be formed. This does, of course, slow the film to a pace that is painfully slow, and this verbosity could easily have been pared back a good fifty minutes without sacrificing Tarantino's uncanny knack for giving the various kinds of evil a voice and a rationale, an ethos.
At times the movie becomes work to stay seated for. Still,there is so much that is being done right here, from the camera work and editing,the way scenes are framed, the absolute sizzle of the dialogue when the verbal build up between one character to another builds to secrets that are revealed, and yes, the violence. Tarantino's tales are revenge plays in large part, a genre that he's exploited brilliantly and less well, but he exceeds his best work by the deceptive complexity. There is a multiplicity of duplicitous motives; this is a pit of angry rats justifying their inevitable urge to kill everyone in the room with a the kind of deliciousely gratuitous locution that is foremost among Tarantino's script writing hall marks. Smartly, Tarantino's tone for each of the way station inhabitants, none of the speeches go so far in their waves of expressive finery to suggest sympathy or provide a clue who the film's eventual hero maybe; the impressive accomplishment of the film is that what we have here is a story populated mostly by personas that would normally be treated as villians; as with Shakespeare or canniest of the Revenge Play tragedians, a prime Tarantino makes the guilty among the roster of characters sufficiently complex without romanticizing the life as means for transcendence. He doesn't let you forget that each of these folks are heading for a bad end.
The camera is an untrustworthy narrator, recording what is revealed with regards to motivations, the insanity of well argued dualistic , black and white points of view coming to a head. Agendas are exposed, but they only give clues to secret agendas , undisclosed machinations that themselves camouflage other plots . There are no heroes, everyone has committed sins against everything we consider righteous and just, and everyone shows that are more than they at first seem, unpredictable, capable of anything. And rest assured , there is plenty of the famous Tarantino violence, gruesome, ironic, unsparing. If nothing else, QT's film world is a universe of verbal characters who , despite their ingenuous habits of expression, are not able to talk their way out of the dour fates they've made for themselves. Theirs is a case of talking a great game to justifiy their horrific acts, but the universe seems not hear not a word of the self-serving eloquence . The universe, rather, greets human action with consequences that cannot be negoiated with.This film, not quite a masterpiece, is still a definitive piece in this film maker's oeuvre.