Movie Review: ‘The Hateful Eight’ truly is the feel-bad movie of the holiday season

MOVIE REVIEW: “THE HATEFUL EIGHT” (R)

The one thing, above all, that can be said about Quentin Tarantino’s “The Hateful Eight” is that it certainly lives up to its title. In fact, this is probably the auteur’s most vicious movie since “Reservoir Dogs.” While the name of the film suggests a sort of anti-“The Magnificent Seven,” this jet black comedy-infused western also plays like a combination of John Carpenter’s “The Thing” and Agatha Christie’s “Ten Little Indians.” It should be noted, though, that for all its influences, “The Hateful Eight” remains a Tarantino movie through and through.

“The Hateful Eight” takes place in Wyoming a few years following the Civil War. Bounty hunter John Ruth (Kurt Russell) has outlaw Daisy Domergue (Jennifer Jason Leigh) in his custody and is en route by way of stage coach to see her hang. During his journey, he picks up stranded Marquis Warren (Samuel L. Jackson) and Chris Mannix (Walter Goggins). Together, these men and the smart-mouthed prisoner seek refuge at a lodge full of strangers in the middle of nowhere, all in an effort to survive one hell of a storm.

Upon arrival, these strangers — which include Oswald Mobray (Tim Roth), General Sandy Smithers (Bruce Dern), Joe Gage (Michael Madsen), and Bob (Demian Bichir) — get to know one another, but before long, they slowly begin to realize that someone among them might not be who they claim to be.

Like I said, “The Thing” meets “Ten Little Indians,” only with Tarantino’s endlessly colorful dialogue and undeniable flair for the exploitative. This is a rough movie, violent and ugly at times but also often blisteringly funny. And again, Tarantino’s dialogue is music to the ears.

Having said all of that, this is far from QT’s best movie, but in the end, it’s still well worth seeing. Clocking in over three hours, “The Hateful Eight” is certainly long-winded at times, and the second half of the movie, while well-paced and bloody as hell, offers up a few beats that are disappointingly familiar. Without giving too much away, “The Hateful Eight” incorporates that sort of double back structural style that keeps viewers on their toes in “Pulp Fiction,” but the technique as presented in this film isn’t as effective. Perhaps it’s because we’ve seen Tarantino utilize this structure device to stronger effect in past efforts, or maybe it’s simply because the scenario is not nearly as hard-hitting or as interesting in this particular movie.

Thankfully, Tarantino’s dialogue, his audacious spirit, and a very game cast rise above what doesn’t quite work here. “The Hateful Eight” offers up several noteworthy performances: of the entire ensemble, Russell, Jackson, Leigh, and Goggins shine brightest.

As Ruth, Russell is fierce to be sure, but this terrific actor brings wonderful tiny nuances to this role. Look no further than a strangely endearing moment in which a tough-as-nails Ruth has his feelings hurt. It’s a great moment from one of our most dependable actors.

Jackson is a powerhouse as an all-knowing ex-soldier dealing with prejudices in a racially turbulent time. An uncomfortable doozy of a scene between him and Bruce Dern is on par with that legendary Christopher Walken/Dennis Hooper exchange in “True Romance.” It’s a scene that folks are certainly going to be talking about when they walk out of this picture, and that’s largely in part because Jackson completely sells it. He’s a dynamic force to be reckoned with in a movie full of dynamic forces.

Googins expands on a familiar persona we’ve seen him play in both “Justified” and “Django Unchained,” but he’s a little more front and center here and is simply a joy to watch. He’s shifty to be sure, but his Mannix is a little smarter than some folks might give him credit for.

Leigh is hilarious in this picture, bringing toughness and rambunctiousness in equal measure. It’s clear that the men involved in her current predicament have the upper hand, but that never stops her from telling them how she feels at any given moment. Leigh is positively fantastic.

In addition to Tarantino’s colorful word play and a terrific ensemble, “The Hateful Eight is gorgeous to look at. From the snow-filled backdrops to the stunning landscapes to the inner confines of the film’s primary location, Robert Richardson’s cinematography is simply breathtaking, and it looks particularly gorgeous in 70mm film. Sadly, there were technical difficulties at the road show screening I took in — the film broke down — but the theater eventually got the problem fixed. Thank God for that.

“The Hateful Eight” is punctuated by a stunning score from the legendary Ennio Morricone (“The Good, the Bad, and the Ugly”). Some might be surprised to learn that this is the first picture in Tarantino’s career to actually be accompanied by a classically composed score. I’m so happy to report that it’s a damn good one!

“The Hateful Eight” is a nasty bit of business. It’s flawed to be sure, but Tarantino’s audacious spirit prevails, and he even peppers the movie with timely subtext. It’s interesting to note that among the lies, deceit, double-crossing, ultra-violence, viciousness, dark comedy, and mean-spirited nature at the heart of “The Hateful Eight,” this story ultimately boils down to a couple of characters putting aside their differences in the name of the greater good (or bad, depending on how you look at it).