The Hateful Eight

In its extended and intended form, Quentin Tarantino’s eighth (but really ninth) feature film begins with an overture. The red, white and black titlecard flickers ever so slightly as Ennio Morricone’s scoreworks wonders of discomfort. In addition to setting the tone, this three-minute sequence signals to us in-film that The Hateful Eight wants to be treated like no work of studio-backed cinema in recent memory. It has been advertised as a fully formed cinematic experience running on the prom...