Tarantino is the Donald Trump of moviemakers. Political correctness does not attach itself to him. If other people had made this movie, they would have been drummed out of the Hollywood community. But Quentin just gets stronger and stronger.
For me, The Hateful Eight was a mixed bag. The performances are first-rate, though the music was overly heavy at times and it occasionally worked against what was happening by overpowering it to make it appear that more was happening than actually was.
The eight gunslingers in Quentin Tarantino's The Hateful Eight really are hateful, so why do we like watching them so much, and so long -- 3-and-a-half hours -- give or take, including an overture and intermission.
Thanks to performers like Streep, Wilson and fellow actors who were called "actresses" to differentiate them from men, women in filmmaking are getting the attention in 2015 that's long overdue. If only earning equal pay was part of the package.
I saw three films in a row today at the Toronto International Film Festival that have generated heavy buzz in the early festival days of fall - and found that none of them actually has the makings of the awards-season juggernauts they're being touted as. In other words, don't believe the hype.
I don't think Welcome to Me is trying to make any larger statements about the world or mental disorders, but the film is an interesting reflection on the role television continues to hold in our lives.
Anyway, all of this, from flipping past the Hallmark Channel to The Love Letter to Jennifer Jason Leigh got me to think of The Hitcher. A movie which is about as far from a Hallmark film as one could think.
It's the rare teenager who can see beyond tomorrow. While they may worry about the future, they tend to live in the moment because, among other things, they feel immortal and most have little evidence to the contrary.
History is repeating itself on Broadway. Ben Stiller made an auspicious Broadway debut in a revival of The House Of Blue Leaves 15 years ago. Almost to the day, he stars in a new mounting of John Guare's blackly comic play.