The Hateful Eight

Lights in the Dusk

Tarantino's most Godardian film. A grotesque, blackly comic study on violence & morality, which seems to be using fiction to draw disquieting parallels to situations occurring in the modern world. Full of lengthy political discussion, digressions & deconstructions, even the decision to shoot 70mm, despite taking place almost entirely in a log-cabin, evokes Godard's practice of shooting domestic drama in Cinemascope.

Daniel Roque

This gore, bloody epicness is everything you expect from Tarantino. It's not easy to carry the thrill on between the same four walls for a long time, but the cast and the dialogues keep it going. Jennifer Jason Leigh is impeccably crazy as Daisy and the whole numerology around '8' is quite amusing with a second watch.

Duncan Gray

In which Quentin Tarantino, master of instant gratification, tries his hand at a slow burn. There's something new here for him: a truly toxic atmosphere that chokes laughter—for once, his violent shocks are played as violent shocks, not thrills or gags. Tarantino's least good film, but a sign he's still growing...the idea of America as a bitter racist hell under the ghost of an imaginary Abe Lincoln is inspired.

Rafael Zen

Blood, guts, hanging, cursing: it's all in here, but sadly it comes along with a tendency of making everything big. It's funny how Kill Bill almost looks shy besides this: Tarantino's revenge megalomania does not make it for me. Forgettable characters, an overflow of narratives, over the top acting and some shameful directing choices made me have to watch it in 5 parts... For an epic western, this was not epic.

André Vieira

4,5. Tarantino sure knows what he is doing and what he does best. Compelling plot, spectacular dialogues and makes you feel, from the very beginning, that shit will definitely hit the fan even though you don't really know when or where. Only Tarantino could've made this.

Tigrão

The first act, although it sets up the action, is excruciatingly long. The second half is fantastic, but could've benefited from a tighter opening and better pacing. However, when it gets rolling, boy does it work well.

Ethan

This is a magnificent film and it proves yet again that Tarantino is a forced to be reckoned with. Seeing this in 70mm was a really great experience, especially with this great ensemble on display which feels like Reservoir Dogs in the snow set in post-Civil War Wyoming. Sameul L. Jackson and Walton Goggins make a great pair in this and Jennifer Jason Leigh holds her own and then some amongst these acting titans.

José Neves

There are two films in this movie: one is the equivalent of a magnificent spatial and temporal structure, in which the soundscape solidifies the threatening presence of the invisible outside the image- the wind, as in Sjöström film; the other, concentrated in the regrettable last two chapters, is a primary accumulation of parodic effects not particularly achieved, besides being an unnecessary dramaturgic recurrence.