Quentin's works are always between changes and constants, showing more possibilities. The existence of this possibility makes Quentin's works seem to repeat a tone; but he has to admit, The rhythm played by each key has its own flavor.
"The Hateful Eight" is a typical Quentin-style film, in which we can see the non-linear narrative, the gushing, the blood, the characters, and the style that runs counter to the seriousness. .
In this work, we can still see a rebellious and uninhibited "ruffian" Quentin, and under this arrogant and rebellious appearance, a free soul who still goes his own way in the film field.
Quentin, who admires Hong Kong films, should have seen Tsui Hark's "New Dragon Inn", because "The Hateful Eight" is the American version of "New Dragon Inn", which is nothing more than a time and place switch to the 1860s and 1970s of the American West.
Thanks to the ingenious plot arrangement and rich character settings, in a small station, it did not make us feel crowded, but in nearly three hours of footage, we got a glimpse of the essence of Western films.
In Quentin's western films, there is no clear distinction between good and bad, and there is no absolute boundary between justice and evil. These primitive and hazy concepts have contributed to the barbaric growth of the ritual and music order in the Western World.
In "The Hateful Eight", everyone is forced into a cramped inn and has to play an intriguing death game. Rescued and rescued, discriminated against and discriminated against, killed and killed, a group of people from different paths were involved in a zero-sum game leading to hell, and finally everything was wiped out in gunshots and blood.
Violent aesthetics continue to be publicized in this work. "Ruffian" Quentin folded his arms and stood on the sidelines from the perspective of God, watching them kill each other and die, which is really a pleasure to watch.
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