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Still working on my list of films I've seen this year, and I'm now up to 12 on the 12th day of January. Looks like I'm on track for my goal if I continue at this pace!
You get to see Jennifer Lawrence fire a shotgun out of anger, if that counts...
'Man of Steel' is a film for you, then.
Then perhaps I can turn you over to 'Bad Boys 2'!
Yes, an excellent film, saw it recently over the xmas hols, as it was on UK TV.
I remember seeing this TV movie when it was shown on the early 70's. I also remember well another American TV movie in the same decade called 'Killdozer', where an alien force strikes the blade of a bulldozer at a construction site, and then runs amok killing the construction workers.......remember that?
Back to 'Due'l there has recently been a remake of this film, and many of the aspects were copied from Spielberg's original, but it is such a poor copy. In this version, a truck is menacing a young lady who is driving a high powered sports car. It was ridiculous because all she had to do was to push down on the accelerator pedal (gas pedal to non-English persons ;) ) to get away.
On recommendation of members here, i have just watched this film, it was very good.
Surprisingly, i had never heard, or seen this film before.
Glenn Ford was a very good actor, and did anyone notice that Clifton James (JW Pepper), had a role in this film.
Glenn Ford, made another good film in the mid-60's which i must re-watch, it was called 'Rage' i think, where he gets bitten by an animal, and catches the rabies virus, and has to try to get help.
For reference, those of you who are trying to find those rare films of yesteryear which havnt't been put on DVD, but you would like to watch again. Try this site, and its free.
http://www.rarefilmm.com/
want to be my friend? :)) I actually have to see that one still. I love his films so much - he's just one of the best film directors ever, of any medium.
The Hateful Eight is a bloody gory epic from Quentin Tarantino. The cast are on top form with Samuel Jackson delivering his usual quality for QT something he fails to do these days outside of work with his favourite director.
Although Walton Goggins is on fiery form and proves adept at delivering Tarantino's dialogue and alongside Jackson and Jennifer Jason Leigh is the standout. Other regulars of the director Tim Roth and Michael Madsen are on fine form and Kurt Russell is brilliantly gruff and mean. As well as some smaller but no less pivotal roles, one taken by a current Hollywood heart throb.
This being the first properly scored Tarantino film and he certainly isn't short changing us with his choice. None other than scoring maestro the legendary Ennio Morriconie. Granted he's used some cues from his score to John Carpenter's The Thing as well as music he provided for the The Exorcist 2 The Heretic but more than a good chunk of it is originally composed for the project as well as The White Stripes, David Hess and Roy Orbison that appear in a more expected way like in his previous work.
Quentin wanted his favourite composer who is most famous for providing some of the most memorable Spaghetti Western music for most notably Sergio Leone. Though his score here bears more resemblance to some of his other work, his main title theme to Brian De Palma's The Untouchables comes to mind. Morriconie does a brilliant job of building the tension from the opening of the film as well as providing a menacing main theme. This for me is the highlight of the film and without it, it might not have been quite so effective if the director had gone down his usual trait of lifting existing music from other films. Quentin finally putting this element in the hands of someone else and not being scared to surrender it even if it is the genius that is Morriconie.
Tarantino has made no secret of the fact that Carpenter's finest film was an influence so the composers using cues from that film seems a natural fit. Although we know the violence is coming this is more of a slow building up to the point the film burst into utter mayhem that could rival the House of Blue Leaves segment of Kill Bill Part 1 in the blood department. It's somewhat of a mystery that see's a mixture of not only The Thing, some scenes definitely have an echo of it, the brooding atmosphere but also the way the paranoia is so intense that it feeds back into the viewer and you come immersed in it, this is important, if you aren't drawn into it like some viewers are likely to be this will come offf as boring. Personally I felt it, maybe not as much as Carpenter's masterwork but enough to enjoy it and buy into the pretense of the piece. While it's a period piece the director said he found the script echoing some recent issues, some that Tarantino himself as been controversially linked with which are likely to be linked to the film and it's director for sometime after its release.
That being said Tarantino's now regular cinematographer since Kill Bill Robert Richardson provides some stunning visions. Tarantino making a big deal that they utilised the Ultra Panavision 70 technique along with 65mm lenses that haven't been seen in decades to shoot the film and whether it be the snowy landscapes or the insides of Minnie's Haberdashery where most of the film takes place, this rarely used technique is more than effectively displayed.
While I though it was an improvement on the uneven Django Unchained, this for me is not Jackie Brown, Inglourious Basterds, Reservoir Dogs or Pulp Fiction level Tarantino. It's his first go at a mystery and the plot hole I mention is a niggle that even a discussion with someone who's seen the film twice still doesn't explain it away for me anyway. I do feel that a good twenty minutes could be trimmed off the film and it wouldn't harm the deliberate slow build of the piece. I do like the influence of Carpenter's The Thing on the piece and while it's not at the masterpiece level I believe that film to be, when he takes influence from other films and film makers in his previous films, he presents it with enough of distinctive style to still call it his own still.
It's still refreshing to see the level artistry at work here. Not only the use of the lenses that do make vista's look spectacular and it would be seen as the obvious reason for employing the technique. The use of them is just as valid and effective in a closed location. Tarantino said he wanted to you not only to see the character he was focusing on in the sequence but to for you to see what the other protagonists are doing in the foreground in Minnie's Harberdashery. The camera captures this with so much detail and definitely begs a viewing of this on the big screen, yes I would have liked to catch this in it's road show version in 70 mm but the multiplex version I viewed still conveyed to me the effect I believe the director was going for.
Also shooting on location in Telluride,Colorado to capture the weather conditions but then when they moved to shooting on set in Los Angeles still keeping that feel by using fridges on set to get the breath of the actors. Tarantino wants you to see the weather itself as a character like a foreboding monster outside that will devour anyone who steps outside which forces them all to stay inside. The beauty of this large canvas also shows the level of painstaking detail under took, whether it be in the costumes or the set dressing to give it that truly authentic feel. While I wouldn't put this up with his best work to a degree it shows as a film maker how much he's progressed from a technical stand point and that not only is it a story teller that he impresses.
Even when not firing on all four cylinders a Quentin Tarantino when dipping his toes in new territory and not entirely succeeding is a more tantalising prospect than a good number of Hollywood directors in work today and that alone makes The Hateful Eight time not wasted.
4/5
How does Roth's character know the name of the person and where did he get that warrant from as there is nothing about him assuming the genuine's hang man's identity or how he got that warrant.
So if this can't be explained then this element of the film is a plot hole, unless we are just going on assumptions. The whole film is built on people being untrustworthy and not what they seem, even that story the Major tells the General about his son could be just him pushing his buttons to get a rise out of him, I guess we'll never know, it's a bit like Verbal Kint's story in The Usual Suspects, you just can't trust it.
Perfect summary; the junkyard battle was a genuinely great highlight that felt out of place in a bad movie. I still think that part probably makes it better than Superman IV - Quest for Peace. 1 and 2 are both very good.
I know the scene you are suggesting but I'm not entirely convinced it explains it away. That being said this film has definitely stayed with me and I watched that interview he did with Christopher Nolan after a screening of the road show version and it made me look at the film even more favorably.
I certainly didn't not like it, yes I was expecting probably better but I still think it was very good, I've a feeling it's one of those that will improve on subsequent viewings and also yield more details when viewed again, that will be the Blu ray for me though as another viewing on the big screen can't be justified at the cost of cinema tickets in the UK, I still want to catch The Revenant.
I've revised my review a little as I felt elements deserved mentioning on reflection.