Bounty hunters seek shelter from a raging blizzard and get caught up in a plot of betrayal and deception.
A polarizing late-period Tarantino that earned genuine admiration from many critics — who treated it as a major work of chamber filmmaking — while drawing equally firm complaints about self-indulgence, narrative incoherence, and an ugly streak that goes nowhere interesting. The treatment of Jennifer Jason Leigh's Daisy Domergue became a flashpoint of its own, with critics dividing sharply over whether her sustained abuse represents a kind of ruthless equality or something closer to elaborately justified misogyny.
“The Hateful Eight is a parlour-room epic, an entire nation in a single room, a film steeped in its own filminess but at the same time vital, riveting and real. Only Tarantino can do this, and he's done it again.”
Robbie Collin·Telegraph
“with a script that could easily be a stage play, The Hateful Eight is about as close as this pastiche artist is likely to get to the classical tradition.”
Ignatiy Vishnevetsky·A.V. Club
“I'm not alone in thinking that it's Tarantino's worst film – a sluggish, unimaginative dud, brimming with venom but not much cleverness.”
Owen Gleiberman·BBC
“Some of the film's ugliness...seems dumb and ill-considered, as if Mr. Tarantino's intellectual ambition and his storytelling discipline had failed him at the same time.”
A. O. Scott·The New York Times
“What a shame the piece is so lacking in character and narrative coherence. What a shame so much of it is so gosh-darn boring.”
Donald Clarke·The Irish Times
Crime, Drama, Mystery
Bounty hunters seek shelter from a raging blizzard and get caught up in a plot of betrayal and deception.
A polarizing late-period Tarantino that earned genuine admiration from many critics — who treated it as a major work of chamber filmmaking — while drawing equally firm complaints about self-indulgence, narrative incoherence, and an ugly streak that goes nowhere interesting. The treatment of Jennifer Jason Leigh's Daisy Domergue became a flashpoint of its own, with critics dividing sharply over whether her sustained abuse represents a kind of ruthless equality or something closer to elaborately justified misogyny.
“The Hateful Eight is a parlour-room epic, an entire nation in a single room, a film steeped in its own filminess but at the same time vital, riveting and real. Only Tarantino can do this, and he's done it again.”
Robbie Collin·Telegraph
“with a script that could easily be a stage play, The Hateful Eight is about as close as this pastiche artist is likely to get to the classical tradition.”
Ignatiy Vishnevetsky·A.V. Club
“I'm not alone in thinking that it's Tarantino's worst film – a sluggish, unimaginative dud, brimming with venom but not much cleverness.”
Owen Gleiberman·BBC
“Some of the film's ugliness...seems dumb and ill-considered, as if Mr. Tarantino's intellectual ambition and his storytelling discipline had failed him at the same time.”
A. O. Scott·The New York Times
“What a shame the piece is so lacking in character and narrative coherence. What a shame so much of it is so gosh-darn boring.”
Donald Clarke·The Irish Times
Crime, Drama, Mystery