During the Cold War, an American lawyer is recruited to defend an arrested Soviet spy in court, and then help the CIA facilitate an exchange of the spy for the Soviet captured American U2 spy plane pilot, Francis Gary Powers.
Three decades after the defeat of the Galactic Empire, a new threat arises. The First Order attempts to rule the galaxy and only a ragtag group of heroes can stop them, along with the help of the Resistance.
Some time after the Civil War, a stagecoach hurtles through the wintry Wyoming landscape. Bounty hunter John Ruth and his fugitive captive Daisy Domergue race towards the town of Red Rock, where Ruth will bring Daisy to justice. Along the road, they encounter Major Marquis Warren (an infamous bounty hunter) and Chris Mannix (a man who claims to be Red Rock's new sheriff). Lost in a blizzard, the bunch seeks refuge at Minnie's Haberdashery. When they arrive they are greeted by unfamiliar faces: Bob, who claims to be taking care of the place while Minnie is gone; Oswaldo Mobray, the hangman of Red Rock; Joe Gage, a cow puncher; and confederate general Sanford Smithers. As the storm overtakes the mountainside, the eight travelers come to learn that they might not make it to Red Rock after all... Written by
According to an October 12, 2015, Variety magazine interview with Quentin Tarantino, the 70 mm roadshow cut of the film is 182 minutes long, making it Tarantino's longest individual film (although the two parts of Kill Bill are 248 minutes combined). The version released in other formats, meanwhile, will remove the 12-minute overture/intermission and 6 minutes designed for the spectacle of 70 mm projection, reducing the length to a minute under Django Unchained (2012). See more »
There were numerous times that the overhead light was bright and glaring at Minnie's. The place was lit with candles and lanterns. There were no visible overhead lights and the blizzard would keep the light to a bare minimum. See more »
The roadshow version of the film opens with a faux-vintage Weinstein Company logo, in flat white-on-blue with a very 70s font along with a "Cinerama" logo. The first few credits appear in the same font as the logo's before switching to Tarantino's usual Friz Quadrata. The standard release opens with only the normal Weinstein Company logo before going directly into the sweeping Panavision shots. See more »
Ready for the Times to Get Better
Written by Allen Reynolds
Performed by Crystal Gayle
Courtesy of Capitol Records Nashville
Under License from Universal Music Enterprises
(used in the Roadshow Version) See more »
The film is too well crafted to get the really low scores, the cinematography is too good, the acting too high caliber, the direction too solid, the score too nice, and the flick too engaging for such ratings.
This also applies to the other end. The "twists" are unimportant and add no spice, the pacing just slogs along, the joy too nonexistent, the characters evoke too little emotion either way, the story too light on satisfaction, the story telling too inconsistent, the length too needless,the magic (other than on the technical side) too absent, and the rewatchability too minimal for me to see greatness but maybe a second viewing will change my perspective but it will definitely be on video for me, only the lure of a hot date fixated on going could get me into the theater again other than maybe just for the experience a 70mm screening.
I'm a pretty avid Tarrentino fan but I didn't overly enjoy this effort. I more appreciate it and can't say I wasn't engaged but I also can't say that I'm eager to see it again and worse for the first time I have little inclination to do so with a flick by Q.
A generous 7/10 (rounding up from 6.5) for me but I could see ceiling of 8 and a basement of 4 at the lowest.
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