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The Hateful Eight - New/Second Trailer!


RussTCB

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2nd half of the film feels like a tarantino film. first half drags a bit but its still fairly interesting dialogue but not all that entertaining.

I think the pace of the first half is really needed to build the characterization. He spends so much time on characterization in this one so that you can really ask yourself who you think the killer is, as well as what evidence there is. It really takes the mystery a step farther than Reservoir Dogs did, and to set up a mystery things need to move slowly for a while.

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There is just something not quite right about every film he has made since Jackie Brown. He is less a filmmaker, more a kid in a candy store throwing around his exploitation influences - and I say that as someone who likes exploitation and even likes most of his post '90s output (in a faltering manner).

Edited by DieselDaisy
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My favorite line was after Ruth and Warren make their pact to help protect each others' bounties, and Mannix says "Well ain't love grand? You wanna get out and make snow angels on the ground while you're at it?"


Not to spoil it for people who have yet to see it, but the best line the movie for me, had to do with bananas.

I actually laughed out loud.

I don't remember the banana line...

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I do not know what Quentin was playing at with that scene, least of all why L. Jackson agreed to act it. Tarantino's racial obsession is beginning to sit uneasy with me, to the point where I almost - almost - agree with Spike Lee. It resembles 'scientific' literature of the 18th and 19th century, semi-pornographic and racist, black people with 'simian sex organs' and so forth.

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I do not know what Quentin was playing at with that scene, least of all why L. Jackson agreed to act it. Tarantino's racial obsession is beginning to sit uneasy with me, to the point where I almost - almost - agree with Spike Lee. It resembles 'scientific' literature of the 18th and 19th century, semi-pornographic and racist, black people with 'simian sex organs' and so forth.

I dunno, i think it worked pretty perfectly, as an ex slave turned anti-Confederate warrior you can see why he'd hate that particular person, then with the added context of the butcher of Baton Rouge stuff...plus there's the added mystery of you don't really know if it's actually true because the whole point of him telling that story to the old git is to do with him trying to get him to draw on him.

And whys sexual torture any worse than just plain torture, like when Tuco walks Blondie through the desert watching him die of thirst while he drinks from his canteen...in edited scenes he even gives him scummy boot water to drink...before pulling it away, something like that.

Come to that you don't really ever know for sure whether Daisy whatsherfaces story about the shitload of bandits waiting at Red Rock bit is true, i think it's kinda a given or to be taken for granted that it's not but at the same time you don't really know, do you?

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I saw the regular theatrical release yesterday - the 70mm Roadshow was much better. I couldn't find where all of the scenes that got cut were, but they certainly weren't all establishing/landscape shots as had been suggested. Here's the ones I've definitely noticed:

- The opening credits are different/longer in the Roadshow. Everything is done in a retro style, including the Weinstein logo, etc.

- When Warren first walks in the cabin, there's a scene where he sees the half-plucked chicken and asks Bob about it - Bob says he was in the middle of plucking it when their stage pulled up, and Warren tells him to finish it because a half plucked chicken is bad luck and Minnie wouldn't approve of that.

- There was one more door gag in the Roadshow edition. I can't remember where, but I know a second character called the door a whore, and it was on O.B. in the theatrical cut.

- In the flashback, when Jody, Oswaldo, Bob, and Joe are standing around the stove, they quietly discuss if Minnie's is a suitable place to stage their rescue.

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I do not know what Quentin was playing at with that scene, least of all why L. Jackson agreed to act it. Tarantino's racial obsession is beginning to sit uneasy with me, to the point where I almost - almost - agree with Spike Lee. It resembles 'scientific' literature of the 18th and 19th century, semi-pornographic and racist, black people with 'simian sex organs' and so forth.

I dunno, i think it worked pretty perfectly, as an ex slave turned anti-Confederate warrior you can see why he'd hate that particular person, then with the added context of the butcher of Baton Rouge stuff...plus there's the added mystery of you don't really know if it's actually true because the whole point of him telling that story to the old git is to do with him trying to get him to draw on him.

And whys sexual torture any worse than just plain torture, like when Tuco walks Blondie through the desert watching him die of thirst while he drinks from his canteen...in edited scenes he even gives him scummy boot water to drink...before pulling it away, something like that.

Come to that you don't really ever know for sure whether Daisy whatsherfaces story about the shitload of bandits waiting at Red Rock bit is true, i think it's kinda a given or to be taken for granted that it's not but at the same time you don't really know, do you?

It is a more inflammatory scene than that though. The film being postbellum, its immediate context is racist 19th century attitudes and propaganda concerning liberated slaves. This propaganda bordered on the pornographic, envisioning as it did all of these ape like freed, and vengeful, blacks raping all of these virginal American apple pie white maidens with their donkey dicks. This was one of the key arguments against emancipation; it is perhaps the most successful argument the south had as many (copperhead) Yankees feared it also - Yankees were not necessarily less racist than southerners, quite the reverse in many aspects.

I suppose Tarantino is subverting that whole attitude here, having the black guy prevail against that bigotry in the most demeaning way (for the Reb), but then it is homosexual also, the 19th century being vehemently anti-homosexual. If you were a freed slave why would you want a dirty old redneck slobbering on your dick, especially if you are a big machismo m@therfucker like Samuel L. Jackson?

It is just a horrible scene from a declining filmmaker. I have given it too much credence by analysing it in such detail.

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I saw it in 70mm yesterday, absolutely loved it. I'd probably rank it in my top 3 Tarantino films.

the 70mm version is really 20 min longer?
Something like that. It was close to 3 and a half hours with the Overture (About 3 mins) and the Intermission (12 mins). I have no clue what would be cut though for the theatrical release - there's was nothing that felt like filler or unnecessary to the story.

Overture an intermission?

dafuq?

Looks like i need to watch this on a theater or rewatch immediately after the blu-ray come out :lol:

QT seriously has a hard on for the N word.....This movie seriously does not get interesting until the last 40 minutes or so which normally wouldn't be a bad thing, except its almost 3hours long!! 2 hours of terrible dialogue and basically nothing happening.

It is taking a beating on some of the main movie boards.

:facepalm:

He uses so frequently to piss people like you

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I saw the regular theatrical release yesterday - the 70mm Roadshow was much better. I couldn't find where all of the scenes that got cut were, but they certainly weren't all establishing/landscape shots as had been suggested. Here's the ones I've definitely noticed:

- The opening credits are different/longer in the Roadshow. Everything is done in a retro style, including the Weinstein logo, etc.

- When Warren first walks in the cabin, there's a scene where he sees the half-plucked chicken and asks Bob about it - Bob says he was in the middle of plucking it when their stage pulled up, and Warren tells him to finish it because a half plucked chicken is bad luck and Minnie wouldn't approve of that.

- There was one more door gag in the Roadshow edition. I can't remember where, but I know a second character called the door a whore, and it was on O.B. in the theatrical cut.

- In the flashback, when Jody, Oswaldo, Bob, and Joe are standing around the stove, they quietly discuss if Minnie's is a suitable place to stage their rescue.

Thanks, so nothing really important

is the screener the theatrical edition?

yes

I do not know what Quentin was playing at with that scene, least of all why L. Jackson agreed to act it. Tarantino's racial obsession is beginning to sit uneasy with me, to the point where I almost - almost - agree with Spike Lee. It resembles 'scientific' literature of the 18th and 19th century, semi-pornographic and racist, black people with 'simian sex organs' and so forth.

I dunno, i think it worked pretty perfectly, as an ex slave turned anti-Confederate warrior you can see why he'd hate that particular person, then with the added context of the butcher of Baton Rouge stuff...plus there's the added mystery of you don't really know if it's actually true because the whole point of him telling that story to the old git is to do with him trying to get him to draw on him.

And whys sexual torture any worse than just plain torture, like when Tuco walks Blondie through the desert watching him die of thirst while he drinks from his canteen...in edited scenes he even gives him scummy boot water to drink...before pulling it away, something like that.

Come to that you don't really ever know for sure whether Daisy whatsherfaces story about the shitload of bandits waiting at Red Rock bit is true, i think it's kinda a given or to be taken for granted that it's not but at the same time you don't really know, do you?

It is a more inflammatory scene than that though. The film being postbellum, its immediate context is racist 19th century attitudes and propaganda concerning liberated slaves. This propaganda bordered on the pornographic, envisioning as it did all of these ape like freed, and vengeful, blacks raping all of these virginal American apple pie white maidens with their donkey dicks. This was one of the key arguments against emancipation; it is perhaps the most successful argument the south had as many (copperhead) Yankees feared it also - Yankees were not necessarily less racist than southerners, quite the reverse in many aspects.

I suppose Tarantino is subverting that whole attitude here, having the black guy prevail against that bigotry in the most demeaning way (for the Reb), but then it is homosexual also, the 19th century being vehemently anti-homosexual. If you were a freed slave why would you want a dirty old redneck slobbering on your dick, especially if you are a big machismo m@therfucker like Samuel L. Jackson?

It is just a horrible scene from a declining filmmaker. I have given it too much credence by analysing it in such detail.

He maybe used it, because it was so random and cruel and shortly before that scene he almost make a friendly atmosphere between the two characters

Edited by Strange Broue
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One argument against used of the n word is that at no point in Quentin's designated environments was the word ever used that much. It is true; one only needs to watch a Blaxploitation film and compare the number of ns to Jackie Brown. Similarly, read up on 19th century American literature and you tend to find negro, the predominant term.

In other words, there is no rational for using the term so much and its prevalence merely is because Tarantino has a bee in his bonnet about the term.

I suppose where he is yanking it from is hip hop and rap, but then nobody had heard of Ice Cube in 19th century wild west. He basically has 19th characters talking like gangster rappers haha

Edited by DieselDaisy
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I saw the regular theatrical release yesterday - the 70mm Roadshow was much better. I couldn't find where all of the scenes that got cut were, but they certainly weren't all establishing/landscape shots as had been suggested. Here's the ones I've definitely noticed:

- The opening credits are different/longer in the Roadshow. Everything is done in a retro style, including the Weinstein logo, etc.

- When Warren first walks in the cabin, there's a scene where he sees the half-plucked chicken and asks Bob about it - Bob says he was in the middle of plucking it when their stage pulled up, and Warren tells him to finish it because a half plucked chicken is bad luck and Minnie wouldn't approve of that.

- There was one more door gag in the Roadshow edition. I can't remember where, but I know a second character called the door a whore, and it was on O.B. in the theatrical cut.

- In the flashback, when Jody, Oswaldo, Bob, and Joe are standing around the stove, they quietly discuss if Minnie's is a suitable place to stage their rescue.

Thanks, so nothing really important

is the screener the theatrical edition?

yes

I do not know what Quentin was playing at with that scene, least of all why L. Jackson agreed to act it. Tarantino's racial obsession is beginning to sit uneasy with me, to the point where I almost - almost - agree with Spike Lee. It resembles 'scientific' literature of the 18th and 19th century, semi-pornographic and racist, black people with 'simian sex organs' and so forth.

I dunno, i think it worked pretty perfectly, as an ex slave turned anti-Confederate warrior you can see why he'd hate that particular person, then with the added context of the butcher of Baton Rouge stuff...plus there's the added mystery of you don't really know if it's actually true because the whole point of him telling that story to the old git is to do with him trying to get him to draw on him.

And whys sexual torture any worse than just plain torture, like when Tuco walks Blondie through the desert watching him die of thirst while he drinks from his canteen...in edited scenes he even gives him scummy boot water to drink...before pulling it away, something like that.

Come to that you don't really ever know for sure whether Daisy whatsherfaces story about the shitload of bandits waiting at Red Rock bit is true, i think it's kinda a given or to be taken for granted that it's not but at the same time you don't really know, do you?

It is a more inflammatory scene than that though. The film being postbellum, its immediate context is racist 19th century attitudes and propaganda concerning liberated slaves. This propaganda bordered on the pornographic, envisioning as it did all of these ape like freed, and vengeful, blacks raping all of these virginal American apple pie white maidens with their donkey dicks. This was one of the key arguments against emancipation; it is perhaps the most successful argument the south had as many (copperhead) Yankees feared it also - Yankees were not necessarily less racist than southerners, quite the reverse in many aspects.

I suppose Tarantino is subverting that whole attitude here, having the black guy prevail against that bigotry in the most demeaning way (for the Reb), but then it is homosexual also, the 19th century being vehemently anti-homosexual. If you were a freed slave why would you want a dirty old redneck slobbering on your dick, especially if you are a big machismo m@therfucker like Samuel L. Jackson?

It is just a horrible scene from a declining filmmaker. I have given it too much credence by analysing it in such detail.

He maybe used it, because it was so random and cruel and shortly before that scene he almost make a friendly atmosphere between the two characters

The chicken scene was probably the most important scene cut, because it pertains to Warren's suspicion of Bob. Bob is also quite quick with his alibi, so it gives the viewer another clue for them to decide whether or not he's telling the truth.

I agree though that besides that scene there was nothing really important missing.

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I saw it in 70mm yesterday, absolutely loved it. I'd probably rank it in my top 3 Tarantino films.

the 70mm version is really 20 min longer?
Something like that. It was close to 3 and a half hours with the Overture (About 3 mins) and the Intermission (12 mins). I have no clue what would be cut though for the theatrical release - there's was nothing that felt like filler or unnecessary to the story.

Overture an intermission?

dafuq?

Looks like i need to watch this on a theater or rewatch immediately after the blu-ray come out :lol:

QT seriously has a hard on for the N word.....This movie seriously does not get interesting until the last 40 minutes or so which normally wouldn't be a bad thing, except its almost 3hours long!! 2 hours of terrible dialogue and basically nothing happening.

It is taking a beating on some of the main movie boards.

:facepalm:

He uses so frequently to piss people like you

What do you mean "people like you"?

Read a few reviews. Plenty of others ( who I know aren't like me) are pointing this out.

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He's writing movies set in the late 1800's, with black people in them. They didn't exactly say, "Why that kind Nubian gentleman over there has a letter from Lincoln?" Nope, N words all around. It's just proper dialogue. You really think a CONFEDERATE GENERAL is gonna hold his tongue on the slurs?

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He's writing movies set in the late 1800's, with black people in them. They didn't exactly say, "Why that kind Nubian gentleman over there has a letter from Lincoln?" Nope, N words all around. It's just proper dialogue. You really think a CONFEDERATE GENERAL is gonna hold his tongue on the slurs?

No, they said 'negro' more than its colloquial cognate. Any analyse of 19th century American letters will reveal this.

PS

See for yourself,

http://www.civilwarcauses.org/quotes.htm

Put 'negro' in find and you will see three references. Put the other word in and you will see none.

'Negro' was the prevalent term used in the 19th century.

Edited by DieselDaisy
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Because as we all know, letters are exactly how people talk. They are not. I do agree, he rode the N word train pretty hard in this movie, but to suggest that a word wasn't used as much because it isn't in the written word is ridiculous. I'm not stupid enough to write the same way I talk (outside of forums obviously), I doubt they were then either.

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