The Swampflix Guide to the Oscars, 2016

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Including short films, there are 57 movies nominated for the 2016 Oscars. We here at Swampflix have covered less than half of the films nominated (so far!), but we’re still happy to see so many movies we enjoyed listed among the nominees. The Academy rarely gets these things right (last year’s Birdman Best Picture win comes to mind in that regard), but as a list this isn’t too shabby in terms of representing what 2015 had to offer to cinema. Listed below are the 19 Oscar-Nominated films from 2015 that we reviewed for the site, ranked from best to . . . least-best (*cough* Fifty Shades *cough*) based on our star ratings. With each entry we’ve listed a blurb, a link to our corresponding review, and a mention of the awards the films were nominated for.

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1) Ex Machina, nominated for Best Original Screenplay, Best Visual Effects

“There’s something about Ex Machina’s straight-forward, no nonsense approach to sci-fi storytelling that struck a real chord in me. It’s not likely to win over folks who are looking to be surprised by every single development in its plot, but for those willing to enjoy the movie on its own stripped-down terms there’s a lot of intense visual rewards & interesting thematic explorations of, among other things, masculine romantic possessiveness that can be deeply satisfying.”

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2) Mad Max: Fury Road, nominated for Best Picture, Best Director (George Miller), Best Cinematography, Best Film Editing, Best Production Design, Best Costume Design, Best Makeup and Hairstyling, Best Sound Mixing, Best Sound Editing, Best Visual Effects

“In a time where a lot of movies, such as Zombeavers & WolfCop, intentionally aim for a cult film aesthetic, it’s refreshing when something as authentically bizarre as Fury Road comes along and earns its rabid, isolated fan base naturally. Although the movie is less than a month old, it’s already gathered a cult following so strong that I doubt that there’s any praise I can throw at it that hasn’t already been bested elsewhere. I loved the film. I thought it was fantastic, wonderfully distinct, up there with The Road Warrior, The Witches of Eastwick, and Pig in the City as one of the best things Miller has ever released onto the world. I still feel like that’s merely faint praise when compared to some of the more hyperbolic reactions out there.”

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3) Star Wars, Episode VII: The Force Awakens, nominated for Best Film Editing, Best Original Score, Best Sound Mixing, Best Sound Editing, Best Visual Effects

“The overall feeling I got while watching The Force Awakens is “What more could you ask for?” Abrams has successfully walked the Star Wars tightrope & delivered something sure to please both newcomers & skeptics and, more importantly, something that’s deliriously fun to watch when divorced from the burden of expectation.”

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4) Straight Outta Compton, nominated for Best Original Screenplay

Straight Outta Compton is not a particularly great example of a historical document, but damn if it didn’t achieve an incredible Cinematic Aesthetic in every scene, somehow managing to squeeze out a great biopic with exactly zero deviations from the format (unlike more experimental films like Love & Mercy). The cinematography, provided by longtime Aronofsky collaborator Matthew Libatique, confidently supported the film’s surface pleasures (including an onslaught of still-great songs & pandering nostalgia) to the point where any & all faults were essentially irrelevant.”

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5) Anomalisa, nominated for Best Animated Feature

Anomalisa is a great film that draws you into its headspace with compelling imagery. While the plot may not be as much of a technical masterpiece as its cinematography, its potentially played-out story is sufficiently fleshed out (again, no pun intended) that it will likely remain culturally relevant long after the genre of paint-by-numbers privileged-white-guy-versus-ennui has receded back into the ether from which it came. If not a masterpiece, then the film is definitively a cinematic experience that demands to be seen.”

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6) Creed, nominated for Best Supporting Actor (Sylvester Stallone)

“The pugilist protagonist (played by an all-grown-up The Wire vet Michael B. Jordan) of Creed‘s narrative may go through the motions of successes & failures the audience sees coming from miles away, but the movie is visceral enough in its brutal in-the-ring action & tender enough in its out-the-ring romance & familial strife that only the most jaded of audiences are likely to get through its runtime without once pumping a fist or shedding a tear before the end credits.”

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7) Carol, nominated for Best Actress (Cate Blanchett), Best Supporting Actress (Rooney Mara), Best Adapted Screenplay, Best Cinematography, Best Original Score, Best Costume Design

Carol is a handsome, but muted drama about homosexual desire in a harsh environment where it can’t be expressed openly. The subtle glances & body language that make the film work as an epic romance are very delicate, sometimes barely perceptible. In fact, if you had no idea what the film’s about going in, it’s possible it’d take you a good 20min or so to piece it together. That kind of quiet grace is in no way detrimental to the film’s quality as a work of art. It’s just that the critical hype surrounding the picture puts an unnecessary amount of pressure of what should be experienced as a collection of small, deeply intimate moments shared between two star-crossed lovers.”

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8) Inside Out, nominated for Best Original Screenplay, Best Animated Feature

“The way Inside Out visualizes abstract thoughts like memories, angst, imagination, acceptance, and abstract thought itself is incredibly intricate & well considered. Its central message of the importance of sadness in well-rounded emotional growth is not only admirable, but downright necessary for kids to experience. Even if I downright hated the film’s visual aesthetic (I didn’t; it was just okay), I’d still have to concede that its intent & its world-building were top notch in the context of children’s media.”

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9) The Hateful Eight, nominated for Best Supporting Actress (Jennifer Jason Leigh), Best Cinematography, Best Original Score

“At one point in The Hateful Eight, Samuel L. Jackson’s balding, ex-military bounty hunter says, ‘Not so fast. Let’s slow it down. Let’s slow it way down.’ That seems to be the film’s M.O. in general. Tarantino is, of course, known to luxuriate in his own dialogue, but there is something particularly bare bones & talkative about The Hateful Eight. It’d say it’s his most patient & relaxed work yet, one that uses the Western format as a springboard for relying on limited locations & old-fashioned storytelling to propel the plot toward a blood-soaked finale.”

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10) Joy, nominated for Best Actress (Jennifer Lawrence)

“Expectation might be to blame for what turned a lot of audiences off from Joy. Based on the advertising, I know a lot of folks expected an organized crime flick about a mob wife, not the deranged biopic about the woman who invented the Miracle Mop that was delivered. Even more so, I believe that audiences expected a lighthearted drama from the guy who made Silver Linings Playbook. Instead, Joy finds Russell exploring the same weirdo impulses that lead him to making I ♥ Huckabees, an absurdist comedy that might be the very definition of “not for everyone”.”

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11) Sicario, nominated for Best Cinematography, Best Original Score, Best Sound Editing

“Much like how the recent Johnny Depp vehicle Black Mass gets by purely on the strength of its acting, Sicario might be a mostly predictable film in terms of narrative, but it creates such a violent, foreboding atmosphere that some scenes make you want to step out in the lobby for a breath of fresh air (or to puke, as the cops who discovered the early scenes’ in-the-wall corpses couldn’t help doing).”

12) Steve Jobs, nominated for Best Actor (Michael Fassbender), Supporting Actress (Kate Winslet)

“Between Sorkin & Fassbender’s work here, the myth of Steve Jobs is most certainly an arresting contrast between genius & emotional sadism. He’s a true to form Sorkin protagonist who’s better judged by his work than his persona. I’m not sure I left the film knowing any more about the real Steve Jobs than I did going in, but I’m also not sure that matters in terms of the film’s failure or success.”

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13) Room, nominated for Best Picture, Best Director (Lenny Abrahamson), Best Actress (Brie Larson), Best Adapted Screenplay

Room is not all broken spirits & grim yearnings. The film can at times be quite imaginative & uplifting, thanks to young Jack’s warped sense of reality & Jacob Tremblay’s wonderful performance. Room‘s strongest asset is how it adopts a child POV the way films like The Adventures of Baron Mucnchausen, The Fall, and Beasts of the Southern Wild have in the past. Because Jack has only known life inside Room (which he refers to as a proper noun, like a god or a planet), he has a fascinatingly unique/warped perception of how life works & how the universe is structured.”

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14) Amy, nominated for Best Documentary (Feature)

“By giving so much attention to a person who obviously did not want it, Winehouse’s unwitting fans made a market out of her gradual death. Again, it’s very similar to what slowly killed Kurt Cobain as well & I’m sure there are to be more examples in the future. A lot of what makes Amy interesting as a documentary is not necessarily the details of Winehouse’s personal life that it turns into a fairly straight-forward narrative, but rather the way it subtly makes you feel like a murderer for wanting those details in the first place.”

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15) The Revenant, nominated for Best Picture, Best Director (Alejandro G. Iñárritu), Best Actor (Leonardo DiCaprio), Best Supporting Actor (Tom Hardy), Best Cinematography, Best Film Editing, Best Production Design, Best Costume Design, Best Makeup and Hairstyling, Best Sound Mixing, Best Sound Editing, Best Visual Effects

“At times the film itself feels like DiCaprio’s broken protagonist, crawling & gurgling blood for days on end under the weight of an over-achieving runtime. Shave a good 40 minutes of The Revenant by tightening a few scenes & losing a shot here or there (as precious as Lubezki makes each image) & you might have a masterful man vs. nature (both human & otherwise) revenge pic. As is, there’s an overbearing sense of self-importance that sours the whole ordeal.”

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16) The Martian, nominated for Best Picture, Best Actor (Matt Damon), Best Adapted Screenplay, Best Production Design, Best Sound Mixing, Best Sound Editing, Best Visual Effects

“Despite facing almost certain death in The Martian’s first act, Watney logically explains the details of exactly how/why he’s fucked as well as the practical day-to-day details other films would usually skip over, such as the bathroom situation in a Martian space lab. Speaking of the scatological, there’s a surprising amount of poop in this film. You could even say that poop saves the day, which is certainly more interesting than whatever control room shenanigans solve the conflict in Apollo 13 or other similar fare.”

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17) Shaun the Sheep, nominated for Best Animated Feature

“As always, Aardman delivers fantastic stop-motion work here, but although their films are consistently entertaining, there’s something particularly special about Shaun the Sheep that makes it feel like their best feature at least since 2005’s Curse of the Were-Rabbit. Because the movie is largely a non-verbal affair, its success relies entirely on visual comedy that feels like a callback to the silent film era & it’s incredible just how much mileage it squeezes out of each individual gag.”

18) Brooklyn, nominated for Best Picture, Best Actress (Saoirse Ronan), Best Adapted Screenplay

“Outside Saoirse Ronan’s effective lead performance, I mostly found Brooklyn entertaining as a visual treat. Its costume & set design are wonderful, particularly in the detail of Eilis’ wardrobe – beach wear, summer dresses, cocktail attire, etc. That’s probably far from the kind of distinction the Brooklyn‘s looking for in terms of accolades, but there’s far worse things a film can be than a traditional, well-dressed romance.”

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19) Fifty Shades of Grey, nominated for Best Original Song (“Earned It,” performed by The Weeknd)

“The best-selling erotic novel Fifty Shades of Grey recently made its long-awaited debut on the silver screen and, as a fan of the book series, I was very curious to see how this film could possibly be tame enough for movie theaters. What could have been one of the most iconic movies of the year turned out to be a total snoozefest. Literally. People in my theater were sleeping so hard they were snoring.”

-The Swampflix Crew

Brandon’s Top Films of 2015

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1. The Duke of BurgundyPossibly the least commercial movie about a lesbian couple in a BDSM relationship possible. Equal parts an intentionally-obfuscated art film & a tender drama about negotiating how to balance romantic & sexual needs in a healthy relationship, The Duke of Burgundy isn’t for everyone, but it is the most beautifully-shot film of the year and a surprisingly poignant portrait of a timeless romance. If you have the patience for its languid pacing & reliance on repetition, the rewards are rich & plentiful.

2. What We Do in the Shadows In a year when a surprisingly limited number of American comedies hit the mark, this gem from New Zealand geniuses Jemaine Clement & Taika Waititi was an easy pick for best comedy of the year, if not the decade. You’d think that a mockumentary about vampire roommates in modern times would be the last breath of a dying genre, but What We Do in the Shadows is readily-available proof that the stake hasn’t been driven into its heart quite yet. This is a hilarious film that only improves upon repeat viewings, with a wealth of quotes waiting to make their way into your daily vocabulary. Now leave me to do my dark bidding on the Internet.

3. Ex Machina – Just really solid, well-constructed sci-fi. I can’t think of a film from this year that got a bigger effect out of so few, subtle moving parts. A lot of what immediately stands out about Ex Machina is the incredible talent of its three lead actors, but the film also has an intense, well-curated visual language to it that can make your blood run ice cold with the most minimal of efforts.

4. Tangerine The movie from 2015 I’d most like to watch/discuss with (the greatest human being walking the Earth) John Waters. Tangerine is a raucously fun, poorly behaved whirlwind of an adventure through Los Angeles’ cab rides & sex trade. For a movie shot entirely on iPhones it’s got a surprisingly intense cinematic eye & despite leaning hard towards over-the-top excess there’s a very touching story at its heart about the value of friendship & makeshift family.

5. Mad Max: Fury Road – Probably the most intensely weird & go-for-broke action film of the past decade. George Miller may be in his 70s, but this is the work of a youthful spirit grinding the gas peddle hard to the floor, hands off the steering wheel. In a time where CGI is casting an insufferable blandness across most action properties, Fury Road is a practical effects masterwork that feels like a breath of fresh air, despite the chokehold it takes on your senses.

6. Magic Mike XXL – The first Magic Mike film is a somber, reflective drama that just happens to be centered on a gaggle of male strippers. XXL, on the other hand, is an over-the-top road trip comedy where said strippers act like an over-aged boy band: horny, sassy, and high on drugs. One of the most unashamedly fun movie-going experiences of the year, not to mention the lagniappe of its intense cinematography.

7. The Diary of a Teenage Girl – An incredibly uncomfortable coming-of-age drama about a young girl in 1970s San Fransisco exploring her sexuality in wildly dangerous ways. Its comic book art visual palette works like a major asset instead of a gimmick & relative newcomer Bel Powley delivers what might be the best lead performance of the year.

8. Star Wars Episode VII: The Force Awakens – Interstellar was the most hilariously over-complained about movie of 2014. The Force Awakens easily earned that distinction in 2015. It’s a genuinely fun, intricately detailed return to form for a franchise that hasn’t been nearly this satisfying since 1980’s The Empire Strikes Back. If you need insight into just how much the movie bends over backwards to please its audience, just take a look at the beyond-adorable BB-8. What a little cutie.

9. Straight Outta Compton – As far as its historical accuracy as an N.W.A. biopic goes, Straight Outta Compton might be shooting about 20%. All of its self-congratulating indulgence aside, it’s a 100% awesome (or “dope”, if you will) late-80s/early-90s pastiche with a killer soundtrack and some stunning visual work from regular Aronofsky-collaborator Matthew Libatique.

10. Felt – A hazy, disconnected portrait of a visual artist coping with a past, vaguely-defined (but likely sexual) trauma. Felt is an unforgivingly intense gaze into a super-specific form of art therapy, even before its meandering pace crashes in a grandly violent display at the film’s conclusion.

11. White God – As most revenge movies tend to go, the endless parade of abuse in this film’s early storylines are not nearly as fun or as easy to watch as it is when shit hits the fan. It just so happens that in this case the revenge is carried about by a massive herd of stray dogs that have a very good list of reasons to tear down an entire city. It’s an incredible, one-of-a-kind spectacle.

12. Appropriate Behavior – Writer/director/actress Desiree Akhavan brings an impressive amount of authenticity to a genre that’s been a little too popular to feel truly distinct lately: the drama-comedy about the 20-something New York City woman who just can’t seem to figure her shit out. This a dark, but hilariously raunchy work & for my money its far more satisfying than its most (financially) successful comparison point from the same year – Trainwreck.

13. Spring – Part of what makes Spring so fun is that it’s such a difficult film to pin down. Is it a tender romance drama or a modern version of a natural horror? What’s more important: its central doomed-to-be-seasonal romance or the horrific nature of its shape-shifting sci-fi beast? Let’s just split the difference & call it the most interesting answer to Linklater’s Before Sunrise/Before Sunset series to date.

14. It Follows – In a lot of ways it feels like John Carpenter’s entire aesthetic is making a (much deserved) cultural comeback. Weirdo action films like The Guest & Drive have at least incorporated his distinct soundtrack work into their highly-stylized worlds, but It Follows takes the homage a step further and constructs more or less what a modern John Carpenter horror would look and sound like. It isn’t as successful as Carpenter’s masterworks like Halloween or The Thing, but its haunting sexually-transmitted-curse premise & killer synth soundtrack make for some remarkably weird & memorable moments.

15. Driving While BlackPresented on the surface as a laid back stoner comedy, this film actually packs a surprisingly powerful (and unfortunately timely) political punch in its depiction of “the extra layer of bullshit on top of regular life” that black people have to face daily in modern America. Detailing the public harassment & personal violation of being constantly persecuted by the police on the receiving end of racial profiling, Driving While Black walks an impressive tightrope of feeling like an important movie, but never losing track of being consistently funny.

16. Creep/The Overnight – Writer/director Patrick Brice just had a pretty incredible year. His first two feature films, Creep & The Overnight, earned wide distribution withing months of one another and both stood as darkly funny, often hilarious reminders of how much of an impact a director can pull from a great script, a limited set, and just a handful of actors. Although one is a found footage horror (Creep) and the other is a twisted play on the traditional sex farce (The Overnight) they pair nicely in their lean towards minimalism & in their collective declaration of Brice as a talent to watch.

17. Queen of EarthThe two minute trailer for Queen of Earth might be the best short film of the year, but the movie itself is a lot more delicate & detached than the psychological horror that the ad promises. It’s difficult to pin down exactly what transpires in this film (I personally see it as a vicious, yet subtle tale of revenge through drawn out emotional torture), but the seething hatred mounting between its two leads is bound to bore a hole into your memory no matter where you land on its plot.

18. Predestination – Predestination is neither a wholly unique work nor an exercise in good taste. It is, however, an example of the virtue of sincere, traditional acting & storytelling and how those elements can elevate ludicrous material into something special. Although its major twists & reveals may occasionally be telegraphed, it’s fascinating to watch the film reach those conclusions in its own time and on its own terms. There’s a sci-fi tradition to its sincere, pulpy sense of tonal balance, but it’s a vintage tradition that’s unconcerned with the new territory that sci-fi cinema’s been exploring in recent years.

19. Goodnight Mommy – There’s a major twist at the core of Goodnight Mommy that most discerning folks will be able to catch onto within minutes of the film beginning, but that withheld reveal in no way cheapens the ugly brutality of its horror imagery or the delicate beauty of its art film surreality. Goodnight Mommy is not looking to outsmart you with its plot, but rather to tie you down & torture you with its relentless horror film intensity. As a bonus, it also functions like cinematic birth control the same way that great works like The Bad Seed, The Babadook, and We Need to Talk About Kevin have in the past. It’s a very specific genre that I’m always a sucker for.

20. Mistress America Noah Baumbach’s latest pulls an incredible trick of not only exposing the harrowing emptiness behind a know-it-all, creative-spirit Millenial’s Everything Is Perfect & So Am I facade, but also making you feel sort of bad for her when the illusion crumbles. Like the film’s protagonist who looks up to this human anomaly, we want to believe that someone so free & so in tune with The Ways of the Universe could actually exist, but by the end of the film you’re left with the feeling that the very idea of someone living that impossible lie on a daily basis is not only far from admirable, it’s also deeply sad.

H.M. Girlhood – Despite what you might expect from a film about roving packs of French girl gangs, Girlhood is far from an on-the-nose melodrama with explicit messages about the powder keg of poverty & puberty. Instead, it’s a brutally melancholy slow burner about an especially shitty youth with dwindling options for escape. It’s far more open-ended & hazy than I was anticipating, opting more for a gradual unravelling than a grand statement. It’s that aversion to closure & moralizing that makes the film special when it easily could’ve gone through the motions of rote Lifetime Movie schmaltz. Besides, its mid-film, impromptu music video for Rihanna’s “Diamonds” easily ranks among the year’s most uplifting moments in film.

-Brandon Ledet

The Hateful Eight (2015)

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One of the first things that will always come to mind with Quentin Tarantino’s latest film, The Hateful Eight, is the William Castle-esque pageantry of its release. Framed as an Old Hollywood-style Road Show, the film was released one week earlier than its digital-version wide release date as a 70mm film print (a strip twice as large as was standard when film prints were standard) complete with an overture, intermission, and a full-color playbill. The Hateful Eight Road Show was a three hour long experience. Purchasing tickets more than a week ahead of time I got the distinct feeling of when you’re anticipating a band you love coming to town instead of a film. To tell the truth, though, the Road Show wasn’t as flashy or as exciting as you would expect, not even as over-the-top as the Grindhouse gimmick attached to Tarantino’s Death Proof release. The overture & intermission were blank spaces accompanied by music. The “extra footage” was, presumably, a collection of extended exterior & detail shots that helped establish mood. Watching the movie unfold on projected film was a nice touch for an homage to old-fashioned Westerns, but it’s a detail that could be forgotten once you’re immersed in its story. The best part of the Road Show was not how it punched the film up & made it more exciting, but how it slowed the proceeding down & let it breathe.

At one point in The Hateful Eight, Samuel L. Jackson’s balding, ex-military bounty hunter says, “Not so fast. Let’s slow it down. Let’s slow it way down.” That seems to be the film’s M.O. in general. Tarantino is, of course, known to luxuriate in his own dialogue, but there is something particularly bare bones & talkative about The Hateful Eight. It’d say it’s his most patient & relaxed work yet, one that uses the Western format as a springboard for relying on limited locations & old-fashioned storytelling to propel the plot toward a blood-soaked finale. Depicting a (jokingly) self-described Bounty Hunter’s Picnic, the film follows the transport of a dangerous criminal (played by an especially feral Jennifer Jason Leigh) in the company of eight potentially dangerous men who are all snowed-in in in a small Wyoming cabin during a blizzard. Among them are Kurt Russell’s weathered bounty hunter, desperate to see her hang; Sam Jackson’s similarly-minded bounty hunter with his own payday to protect; Bruce Dern’s cantankerous Southern Rebel general who refuses to let go of the Civil War; Tim Roth’s “jolly good” rapscallion of a Brit; and the list goes on. As the plot unfolds it becomes apparent that one or more of the strange men are determined to set the prisoner free by leaving behind a trail of dead, which makes for a Western version of a mystery film like Clue or John Carpenter’s The Thing. Tarantino’s no stranger to genre mashups or liberal borrowing, but there’s a relaxed, unrushed pacing that started to emerge in his films sometime around Inglourious Basterds that’s getting its full due in The Hateful Eight.

Watching Tarantino’s films with the general public is always a little nerve-racking for me. The mashup of comedy & violence in his work builds a lot of nervous tension that leads to much-needed laughs, but I find a lot of audiences will laugh at disturbing moments designed to leave you more in abject horror instead of knee-slapping amusement. The Hateful Eight provides a wealth of opportunities for this discomfort. The audience around me laughed during shots of Jennifer Jason Leigh being beaten half to death by the men in charge of her transport. I found that more horrifying than amusing (despite her playing a cruel, heartless character herself), but Leigh’s immediate response to of spitting, shooting snot rockets, and licking up blood with a smirk were all very funny to me in a Jerri Blank kind of way and fell onto a silent room. Similarly, the copious amount of utterances of the word “nigger” in a post-Civil War America setting & an extended fireside tale of a rape & murder left me chilled to the rest of the room’s bizarre reactions. At least we could all agree on the excellent physical comedy gag of a door that wouldn’t stay latched? Tarantino knows exactly what he’s doing with this tension, something he plays up with decisions like ending the rape tale with a silent intermission or having characters puke blood in a grotesque practical effects display that alternates from funny to horrifying to funny to you get the picture.

So many details complicate the background & history of The Hateful Eight that it’s difficult to separate them from the film proper. The film’s screenplay was leaked online prior to production, so an infuriated Tarantino cancelled the film outright, then doubled back & staged a table reading before deciding to actually begin filming due to an overwhelmingly positive response. I mention this backstory because it bleeds into the film not only in its dialogue-heavy vibe, but also in the way Tarantino himself acts as a narrator, reading stage directions aloud during the film. The Thing vibes are inescapable in its snowed-in, no-one-can-be-trusted plot structure, but are also backed up & complicated by unused segments of Ennico Morricone’s score for John Carpenter’s The Thing. Then there’s the experience of the Road Show & the 70mm print, two features I cannot separate from the movie as a finished product. I also found myself thinking of its “Spend the holidays with someone you hate” tagline in the trailers, especially in Michael Madsen’s cowboy’s interrupted plans to spend Christmas with his mother & in a particularly uncomfortable rendition of “Silent Night”. It’s difficult to know when you’re enjoying The Hateful Eight or when you’re enjoying the experience & the lore of watching The Hateful Eight. It’s a confusingly engaging film in that way.

There are a few things that are remarkably clear about The Hateful Eight to me right now, though. It is an incredibly violent, misanthropic, lushly-photographed tale of a collection of vile ruffians murdering each other in such a flippant, nonchalant way that it leaves you with both nervous laughter and total disgust. In that way it’s classic Tarantino, so mileage may vary depending on how you already feel about his work. In this case, though, the pacing is slowed way down to allow the violence & the nervousness to soak in even deeper than before, leaving you with a particularly nasty, hateful feeling at the end credits.

-Brandon Ledet