The Hateful Eight (2017)
Quentin Tarantino is such a fan of cinema that often his devotion to the art overcomes some of the better aspects of his early films, like story telling. The dialogue is always there, for better or worse (sometimes the latter since he's been listening to critics praise him for the last quarter century) and he has learned to film in a way that would make John Houston or Sergio Leone proud. That has caused a bit of consternation, as Tarantino knows how to use the widescreen format to every advantage, making sure action occurs in all parts of the screen. He films landscapes as beautifully and lovingly as he films outrageous, over-the-top violence. It's a grand arena just set for the action-packed themes his films promise after all his influences are ground up, assembled into something new and splashed, in amazing, action-packed detail across the screen. Or so we are usually promised. Reservoir Dogs and Pulp Fiction (and True Romance , for that matter, which was still en