A powerful, moving motion picture of utmost purity, in terms of screenwriting, character development, film-making, knowing where to set the camera and capture the events. At times it felt as if I was witnessing a documentary about men in the wilderness and of a man who’s perhaps not as angered on the beast that leaves him paralyzed physically and mentally, but angered, deeply broken from inside after witnessing what a MAN does to its own kind.
Inarritu, as a director, provides his audiences the beauty of not just the world we live in, but of cinema, its audacity to show and tell, the greatness, darkness, the chilling realities of our atmosphere. He, also, along with the central character (Hugh Glass) limned passionately by Leonardo DiCaprio, proffers that cinema is also about the sheer power of man. What is the power of man? By man, I mean, human, we, the soul, who stand on feet and see the reality of the world by two eyes.
The Revenant is about heart, passion, a fight against nature, against man, the enemy of man, and also the capability of flourishing love that love, respect, honor can still exist between it all. If you would like to know the power of cinema, the big screen, and the audacity of artists, The Revenant is one of the perfect examples.
Raising hell or blowing his audience’s brains into pieces, Tarantino is that master of cinema, who sees a different world through the squared frame. No one’s able to see what Tarantino sees and understands. It is he, who only comprehends the palatable cinematic frame, through which only his kind is able to, and can, proffer pure cinematic entertainment, though with, and thankfully, drama consisting of crucial character development.
Tarantino’s actors have to become characters first and foremost. As a pupil, each character follows his/her teacher and most importantly, they are good at what I think is absolutely essential: Listening. There’s absolute mannerism, out-and-out sense of discipline.
The Hateful Eight, from its opening shot, snow-covered landscapes and camera panning gradually presents itself in the glorious 70MM, making one appreciate the utter sense and feel of cinema. Sense and feel which cinema-goers will never get to see, understand or absorb via almost all of the big-budget blockbusters that are CGI-filled monkey business. The Hateful Eight is captured in the extreme widescreen Ultra Panavision 70 system, used, for the first time since 1966.
The film is about impactful writing and film-making. Jaw-dropping performances, remarkable cinematography and score. The Hateful Eight is a no-nonsense, filled with witty one-liners, not at all bullshit film. The first act, second act, third act, all acts performs the job of a ticking bomb. And when the momentous third act is about to arrive to its conclusion, Tarantino, has for us, poetic imagery, captured, in a way that only a genius can. His artistic strokes are the reason The Hateful Eight is such a splendiferous piece of cinema.