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: The Hateful Eight (2015)  ( 61431 )
Groggy
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« #90 : January 03, 2016, 11:08:27 AM »

No such luck.



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« #91 : January 03, 2016, 08:35:25 PM »

Quote
When Tarantino was simply the arbiter of post-modern cool, his self-indulgence worked. Pulp Fiction's sprawling, madcap irreverence plays as fresh now as it did twenty-two years ago. Jackie Brown was both homage to Blaxploitation flicks and well-crafted thriller. Since Kill Bill, his movies are simply overblown genre pastiches, garnished with self-importance. The Hateful Eight provides the culmination: a gallery of caricatures spitting profanity and bullets at each other, thinking itself art.  5/10
I haven't seen the film either, but well said, Groggy (providing this really IS Groggy we're hearing from. Could it really be Zombie Groggy?)



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« #92 : January 03, 2016, 09:46:52 PM »

providing this really IS Groggy we're hearing from. Could it really be Zombie Groggy?

The ads for the sexy Arab women woke him up


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« #93 : January 06, 2016, 06:57:44 PM »

So I went to see it mainly for the novelty of it being a new film shot in 70mm. However, I don't really understand why Tarantino chose to film this in anamorphic 70mm to give that extremely widescreen image of 2.76:1 as opposed to the standard 2.20:1. Given that the film basically takes place in one room, unless I missed it I did not notice him using the extra space at the edges for significant alternative action. Jean Renoir managed to achieve that in "The Rules of the Game" back in the days of 1.37:1.

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« #94 : January 07, 2016, 04:16:41 AM »

QT has never been that great with composing images. He's not terrible, just not in the Leone/Hitch/Lean league. Everybody knows how to do a close up, the hard shots to compose are the wide ones. 2,76:1 makes everything a wide shot. QT just doesn't know how to fill that up. I'm going to see the film tonight so I'm mainly talking about something I don't know here but I've read people celebrating QT's use of the extra large frame to make the closed set become a stage play.


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« #95 : January 08, 2016, 08:36:11 PM »

Saw it today. I liked it, very entertaining with some outright chuckles, the wife also enjoyed it. The Morricone score was different, it didn't really grab me like his Spaghetti Western scores. Interesting concept I'd go a 7-7.5/10.


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« #96 : January 08, 2016, 09:53:55 PM »

... the wife also enjoyed it. .

Ok, then: it sucks


« : January 09, 2016, 03:35:42 PM cigar joe »

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« #97 : January 09, 2016, 03:35:07 PM »

No, that's a good thing, she actually loves American Westerns and SW's , she thought Jennifer Jason Leigh reminded her of some of the women from Montana.

It's also nice that they pay attention and some screen time to taking care of the horses. It's a sort of a whodunnit Western, it keeps you interested. It's better in varying degrees and for various reasons than these other 21st Century Westerns, Django Unchained, Open Range, True Grit, Seraphim Falls, The Assassination of Jesse James, 3: 10 to Yuma, The Lone Ranger, Appaloosa. It quotes The Great Silence of course in a few shots, and we'll probably see more quotes upon future viewings.

It's within the range of The Proposition and my recent viewing of The Salvation.

My rating may go up a point or half point upon a second viewing.


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« #98 : January 12, 2016, 05:21:16 PM »

Some interesting stuff from IMDb about the film

"I think this is probably his most sophisticated and nuanced film to date. Of course there's the main plot on a surface level, but beneath that is a very pointed statement about the America's history of racism, with the Civil War playing itself out all over again in the cabin. In the end we're left with a scene of bloody carnage, with the last people left alive reading the fake Lincoln letter, which expresses an idealism that America would like the believe is real, except it's not, and that false hope is juxtaposed against the the horrific reality of what America actually is. And even if you don't completely agree with that interpretation, it's clear that the film is intending to say something about race in America, and it does so through a whole lot of subtext rather than directly through the main narrative. If you ask me, that sounds like a film with plenty of nuance. "

FedRev


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« #99 : January 13, 2016, 03:50:51 PM »

Hmmm, it stinks of Politically correct. BTW I read somewhere that a line about blacks was removed or something.


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« #100 : January 13, 2016, 04:05:13 PM »

Some interesting stuff from IMDb about the film

"I think this is probably his most sophisticated and nuanced film to date. Of course there's the main plot on a surface level, but beneath that is a very pointed statement about the America's history of racism, with the Civil War playing itself out all over again in the cabin. In the end we're left with a scene of bloody carnage, with the last people left alive reading the fake Lincoln letter, which expresses an idealism that America would like the believe is real, except it's not, and that false hope is juxtaposed against the the horrific reality of what America actually is. And even if you don't completely agree with that interpretation, it's clear that the film is intending to say something about race in America, and it does so through a whole lot of subtext rather than directly through the main narrative. If you ask me, that sounds like a film with plenty of nuance. "

FedRev


Yeah that black subtext was quite obvious to me. A lot of the talk about the movie in France is centered around this subtext, by the way. That, the 70mm and the violence of the film.


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« #101 : January 13, 2016, 05:32:05 PM »

Counterpoint: Tarantino doesn't do nuance.



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« #102 : January 13, 2016, 09:20:31 PM »

QT has never been that great with composing images. He's not terrible, just not in the Leone/Hitch/Lean league. Everybody knows how to do a close up, the hard shots to compose are the wide ones. 2,76:1 makes everything a wide shot. QT just doesn't know how to fill that up. I'm going to see the film tonight so I'm mainly talking about something I don't know here but I've read people celebrating QT's use of the extra large frame to make the closed set become a stage play.

So do you think he justified the 2.76:1 aspect ratio with his compositions?

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« #103 : January 14, 2016, 12:14:28 AM »

Much more than I thought! Of course not in the traditional way -but Tarantino rarely do things the good old way.  He uses it most if the time to induce claustrophobia and organize the space (we should say territory) of the cabin. This is definitely his best camerawork ever.


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« #104 : January 14, 2016, 05:10:35 AM »

Much more than I thought! Of course not in the traditional way -but Tarantino rarely do things the good old way.  He uses it most if the time to induce claustrophobia and organize the space (we should say territory) of the cabin. This is definitely his best camerawork ever.

I've been thinking about this and I agree.

I think I perhaps appreciated it without being aware of it as I think I had been expecting full "Rules of the Game" style alternative action of which it admittedly had some but not to the same degree. However, what he did do was take a situation in which he could have decided to go back to an academy ratio of 1.375:1 for the claustrophobia as one might have expected, but went back instead to the absolute opposite extreme with an anamorphic 70mm ratio of 2.76:1. As Tarantino put it “I thought it could be really cool in this claustrophobic situation... It makes the close-ups very, very intimate."

I think he is absolutely right. My gut response was that the 2.76:1 was great for the panoramic snow scenes at the beginning but I didn't see the point elsewhere. However, ignoring these preconceptions, it is actually perhaps even better for the interiors than the exteriors. Kudos to Tarantino.

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