THE HATEFUL EIGHT - review

THE HATEFUL EIGHT
Director: Quentin Tarantino
Cast: Samuel L. Jackson, Jurt Russell, Jennifer Jason Leigh, Walton Goggins, Demián Bichir, Tim Roth, Michael Madsen, Bruce Dern, James Parks, Channing Tatum

Synopsis: Set six or eight, or twelve years after the civil war, a stagecoach hurtles through the wintry Wyoming landscape. The passengers, bounty hunter John Ruth (Kurt Russell) and his fugitive Daisy Domergue (Jennifer Jason Leigh), race towards the town of Red Rock where Ruth, known in these parts as "The Hangman", will bring Domergue to justice. Along the road they encounter two strangers: Major Marquis Warren (Samuel L Jackson), a black former union soldier turned infamous bounty hunter, and Chris Mannix (Walton Goggins), a southern renegade who claims to be the town's new Sherrif. Losing their lead on the blizzard, Ruth, Domergue, Warren and Mannix seek refuge at Minnie's Haberdashery, a stagecoach stopover on a mountain pass. When they  arrive at Minnie's, they are greeted not by the proprietor but by four unfamiliar faces. Bob (Demián Bichir), who's taking care of Minnie's while she's visiting her mother, Oswaldo Mobray (Tim Roth(, the hangman of Red Rock, cow puncher Joe Gage (Michael Madsen), and Confederate General Sanford Smithers (Bruce Dern). As the storm overtakes the mountainside stopover, our eith travellers come to learn they may not make it to Red Rock after all. 

Oh. My. Giddy. Aunt. Today was the day folks. The day I got to see the new Tarantino film in glorious Ultra Panavision 70, exactly as he intended it and I've never been happier. Ok, well perhaps I have been happier, but in that moment I was elated. It was exquisite.

For those of you who don't know what Ultra Panavision 70 is, here is a little excerpt from the programme I got when I saw the film today (that's right, it comes with a programme, as well as an overture and an intermission);

Ultra Panavision 70 refers to the very rare and exceptional format that Quentin Tarantino and his team used to shoot THE HATEFUL EIGHT. Panavision's unique anamorphic camera lenses capture images on 70mm film in an incredible aspect ratio of 2.76:1. Almost all films you see today are shot in ratios of either 1.85:1 or 2.39:1. So, to put it simply, Ultra Panavision 70 provides an amazingly wider and more detailed image. Only a handful of films have ever been made in this format, including BEN-HUR, MUTINY ON THE BOUNTY, IT'S A MAD, MAD, MAD, MAD WORLD, BATTLE OF THE BULGE and in 1966, KHARTOUM, the last time a motion picture was made in this format. 

Basically it's bigger and better and just generally all round rare and awesome. When I heard that the Sun Theatre were going to be tracking down and installing a 70mm projector for the purpose of screening THE HATEFUL EIGHT, I was delighted, but also concerned about where the hell they were going to find a 70mm projector and all the necessary parts. Particularly given the limited release of the 70mm print, I imagined there would be a mad scramble for bits and pieces that have long since disappeared from most cinemas which are now all running digital.

Tarantino and the Panavision camera

Not to worry though, my old friends fought the good fight for 6 months, collected all the bits, put it together and got it working to be one of only 6 screens Australia wide showing the film in the format in which it was filmed and intended to be seen. They did an incredible job pulling it together, so cudos to them I say. There was an audible sigh of relief when the film started and ran through to the end without a hitch in the first session today. And for me there was something magical about hearing the whir of a projector behind me as I sat my ass down during the overture and got settled in for 3 hours and 15 minutes.

I also snuck a peak in the projection room today and caught a glimpse of the beautiful piece of equipment that is a 70mm projector and chatted to the boys who didn't leave the bio box for the entire first screening of the film, just in case.

The team at the Sun were wrapped (as they should be), and sessions are selling out fast at the Sun as it is one of the few places you can see it in this format. As I said I went to the first session this morning even though I was dog tired having spent the night chatting and doing ridicuous quizzes with the BFF aka The Red Haired Amazona, but I dragged my sorry ass out of bed to be first in line. The film was still in mint condition, however I can't wait to go back in a couple of weeks once it has collected a little bit of dust and gained a bit of character so I can really tell that I am watching a film on film. There's nothing quite like the magic of a film, I know most people prefer the clarity of digital, but I myself can't go past a print with a few marks or scratches, that's one of the biggest things I miss about film.

Anyway, that's enough about that rambling, now onto what I thought about the film. In a nutshell, I loved it. I think I was always going to love it, but sometimes when I think that I end up being sorely disappointed, this time, I wasn't. I've been gearing up for this film since the leak of the script in 2014, and shed a tear when Tarantino nearly abandoned the project until he saw the positive response to the script, so with a few minor changes he pushed on to deliver a film that I think is a standout for the 2015/16 season (it shits all over MAD MAX: FURY ROAD just FYI). Not only that, but I think it is a standout for Tarantino. It will never take the palce of my favourite Tarantino film of all time (RESERVOIR DOGS), but actually it's right up there. I need some time for the film to sink in and for the high to fade before I make the call and place it in rank order , but I think it's going to satisfy die hard Tarantino fans like me as well as the average Joe Bloggs cinema viewer.

Be warned, in true Tarantino style there is some gore. It's not as confronting as DJANGO UNCHAINED, but there's gore. Blood, guts, blown off nut sacks, you name it it's there. It is Tarantino in the Wild West after all, what do you expect?

The film is incredibly shot, the scenery is magnificent, and the wide lens shots the 70mm gets make for a breathtaking setting for the film to take palce. Ennio Morricone is a miracle worker with the score, which is why THE HATEFUL EIGHT won the Golden Globe this year for Best Original Score. It carries the film so well from the overture to the end credits, and sets the tone for the whole thing from the opening note.

The film is a little slow moving to start, but it doesn't impact it in a negative way. I certainly didn't feel like I was sitting there for the longest 3 hours of my life, and to me that's always a good sign. If I'm restless and fidgety and thinking "Oh for Pete's sake I've been watching this film for days" then I know the film is pretty crap, particularly if it's only a 90 minute piece. At over 3 hours, I didn't once feel like I had been there for 3 hours, but I was bloody grateful for the intermission, because I really wouldn't have been able to site that long without a desperate need to pee.

There is a great recap after intermission, which didn't quite fit with the film in my opinion, but will be super helpful to those with the memory of a goldfish who won't remember where they were up to 10 minutes ago. The script is witty and snappy and gives this talented ensemble cast a lot to work with which is a refreshing change.

Image via Entertainment Weekly

There was a lot of secrecy revolving The Chan *sigh* and his role in this film, and it hasn't really been publicised that much, and I'm not going to talk about it that much either because it would give the game away, but what I will say is there wasn't enough of him...I mean look at him in all his cowboy glory;

*le sigh* 

Image via Roadshow 

THE HATEFUL EIGHT is a very successful single-setting dramedy (drama comedy) in my opinion, and I think that Tarantino fans and the majority of the gen pop will enjoy this film (probably don't take your Great Aunt Mary or anything). I sure did and I actually can't wait to go back and see it again. Just remember that it is an R18+ rating in Australia and that means you must of 18 or over and you will be asked for ID both at the point of purchasing tickets and at entry to the cinema at most locations, so be prepared for that. In my opinion you should definitely spend the 20-something dollars on this film, and I highly recommend that you see it as it was intended in the very exquisite Ultra Panavision 70. You can catch it in Melbourne at the Sun Theatre (my cinema of choice), The Astor Theatre or the Rivoli and in Sydney at the Even on George Street, the Hayden Orpheum and the Randick Ritz.

4 out of 5

Xoxo
The Blonde Bombshell

THE DRESSMAKER - review

THE DRESSMAKER
Director: Jocelyn Moorhouse
Cast: Kate Winslet, Liam Hemsworth, Judy Davis, Hugo Weaving, Sarah Snook, Rebecca Gibney, Shane Jacobson


Synopsis: Based on the best-selling novel by Rosalie Ham, THE DRESSMAKER is a bittersweet, comedy-drama set in early 1950's Australia. Tilly Dunnage (Kate Winslet), a beautifil and talented misfit, after many years working as a derssmaker in exclusive Parisian fashion houses, returns home to the tiny middle-of-nowhere town of Dungatar to right the wrongs of the past. Not only does she reconcile with her ailing, eccentric mother Molly (Judy Davis) andunexpectedly falls in love with the pure-hearted Teddy (Liam Hemsworth), but armed with her swweing machine and incredible sense of style, she transforms the women of the town and in doing so gets sweet revenge on those who did her wrong.

It's been a few weeks since my last review, indeed it's been a few weeks since I've seen a film because, well, because life. Tell you what though, I got back to my true love with a bang! Friday morning I took myself off with Sissie to see THE DRESSMAKER, and it was as glorious as I had hoped it would be. As an added bonus, this lovely film had a scene shot in my local cinema (The Sun Theatre) indeed, it closed the place down for a day which I was most put out by at the time, although I did get the chance to see some movie making in action, so there was a plus even if I didn't get to see a film that day. The film starts off as a magical comedy-drama about the return of the prodigal daughter to her home town after many years of being away working as a dressmaker at some of the most prestigious Parisian fashion houses. She returns to find out the truth about her past and right some wrongs.

Known to the townsfolk as a murderer, her return is not welcomed by most, least of all her mother, who claims not to remember who she is. Together with the local police officer (Hugo Weaving), her eccentric mother and a local boy who loves her for who she is not who the people say she is, she sets about putting the pieces of past together and righting the wrongs done to her. At about two thirds of the way through when I thought all was coming to a neat little conclusion, the film takes an unexpected turn and then spirals into a world of "wtf is actually happening right now". The third act doesn't quite fit with the tone of the rest of the film, but gee willickers it was good even if it didn't quite make sense.

welcome home Tilly Dunnage

image via Universal Pictures

THE DRESSMAKER has some "holy shit" moments, and plenty of laugh out loud hilarity in the small town of Dungatar, and it will keep you entertained the entire way through. There is truth in the grudges held by the small-minded people of this small town, and the gossiping, rumour mills that exisit within the community. I mostly enjoyed the "screw you" attitude of some of the key characters, not least of all Tilly Dunnage, her mother Molly and her true love Teddy.

Kate Winslet shines in this film, she is powerful and commanding and captivates the audience with her powerful presence on screen. She is given every opportunity in this script to shine as the leading lady of this film, and even though I was a little put off by the enormous age gap between her and her leading man Liam Hemsworth, their chemistry is undeniable. He is unflappable in his convictions and his pure heart shines throughout the whole film.

Tilly and Teddy - true love against the odds

image via Universal Pictures

The supporting cast of a great number of talent Aussies also shines, and this is a prime example of quality Australian cinema that should not be missed. Judy Davis, Hugo Weaving, Sarah Snook, Rebecca Gibney, Shane Jacobson, Gyton Grantlet, Barry Otto and many others truly bring this film to life and give it all the magical qualities that make it so thoroughly enjoyable.

Hugo Weaving

Judy Davis, Sarah, Snook, Kate Winslet

Mark Leonard Winter, Sarah Snook, Rebecca Gibney, Shane Jacobson

images via Universal Pictures

Overall, even aside from the surprise plot twist and wtf ending, THE DRESSMAKER is a lovely piece of cinema and I definitely recommend spending the 20-something dollars on taking yourself to the cinema and indulging yourself.

4 out of 5

xoxo
The Blonde Bombshell