The Hateful Eight 4K 2015 big poster
The Hateful Eight 4K 2015

The Hateful Eight 4K 2015

USA     Movies / Drama 4K
Quentin Tarantino
Samuel L. Jackson, Kurt Russell, Jennifer Jason, Walton Goggins , Demin Bichir, Tim Roth, Michael Madsen, Bruce Dern, James Parks, Dana Gourrier, Zo Bell, Lee Horsley, Gene Jones, Keith Jefferson, Craig Stark...
IMDB 7.8
File Size: 38.1 GB
Film Description
USA after the Civil War. The legendary bounty hunter John Ruth, nicknamed the Hangman, escorts the prisoner. On the way to them, several more travelers are beaten. The snow storm forces the company to seek shelter in the shop in the outskirts, where a very motley society has already settled down: a Confederate general, a Mexican, a cowboy ... And one of them is not who he claims to be. 4K full movie download.

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You know, most of the films in modern cinema are the cooperative product of a number of different organizations. As a matter of fact, the success of this or that picture mainly consists of two components - the director's skills and the professionalism of marketers. Moreover, the latter is often more important. Maybe something similar happened with the new Tarantino tape?

The Hateful Eight can be roughly seen as a continuation of his previous work, Django Unchained. Both are performed in the same genre, however, stylistically, discursively and compositionally they approach it from different ends, being in fact direct opposites of one another. The endless steppes, wide open spaces and the sultry sun of the southern prairies of the pre-war world of 'Django' were abruptly replaced by the harsh northern winter and narrowed to several tens of square meters serving as a battlefield, although the civil war seems to have ended long ago.

Tarantino apparently became addicted to immersing his heroes in the conflict periods of world history. This significantly expands the boundaries of the ethical and social interaction of characters, allowing the author to introduce into the narrative a number of serious issues, some of which have not been resolved to this day. Just like in 'Django,' the director brings up the topic of racial relations: 'My film is about how racial conflict tore the country to pieces.' However, it seems to me personally that he is disingenuous. All these cultural and social antinomies serve him as just a runway from which he launches his story, whose main merits lie on a completely different plane.

First of all, it is the impeccable development of the characters of the characters. Interestingly, at the time of writing the script, Tarantino already imagines certain actors as characters. Moreover, he takes into account the track record of each artist, knows the "mythology" of all his past roles and tries to continue it. Each actor in the eyes of the viewer has his own special psychological shade, Tarantino is able to ingeniously capture it and mix it in such refined and sophisticated proportions with other characters, which ultimately results in a completely unique and unique picture. So in '8' a company of the coolest and inimitable actors of the nineties gathered. All of them have noticeably aged and appear in the film as a kind of fallen stars that have lost their former brilliance, but this seems to make them even more matured, strengthened and wise by experience. Casting (which is essentially a creative act) is done with filigree precision, no one stands out, everyone supports and reinforces each other. In general, an ideal foundation has been laid for the development of action.

Here we come to the second important feature of the painting - its compositional structure. The film consists of six interconnected chapters and can be conditionally cut into two parts, the border between which is the first shot, which sounds exactly in the middle of the timing. The first part is a kind of detective story or psychological thriller. There is no action at all. However, thanks to the brilliant 'Tarantino' dialogues, a truly ecstatic tension is created. The director takes turns introducing us to the characters, clearly mocking our ignorance. The personality of each of them is a kind of amorphous, fluid substance, whose seemingly peaceful constancy at any moment can explode with bloody chaos and violence. It should be noted that Tarantino in this case goes all-in, relying on the absolute professionalism of the actors and the depth of their characters. And for good reason. The whole situation, in spite of the formal staticity, is constantly shifting, shifting and decentering. Each character suspects the other of lies and betrayal. The ethical modality of the heroes dramatically changes the sign to the opposite, radically transforming the whole story. Who is good and who is bad? Tarantino skillfully leads the viewer by the nose in order to ultimately discover the categorical truth that everyone is bad here. As soon as this occurs, the meditative rhythm of the picture explodes with shocking shootings, the philosophical search for meaning will be replaced by a bloody bacchanalia, a hellish phantasmagoria. It's time for Reservoir Dogs.

The second part of the film is an unambiguous reminiscence of the first film by the director. In general, he himself admits that 'always presented The Hateful Eight as a Western version of Reservoir Dogs, and thought that this film was just the right place for this moment in my career - as if I went through a full cycle.' Indeed, the discourse and composition of the second movement completely repeats the legendary gangster tape. The survivors of the bloody shootout, with their last breath and bleeding, are trying to figure out the true state of affairs. The G8 will also have a flashback explaining the whole situation to the viewer, and, of course, violence, so 'disgusting' and exaggerated that it causes fits of laughter. Do you catch yourself thinking - "Is this really funny or is there something wrong with me"? However, this is exactly what Tarantino is trying to achieve, desperately trying to dilute the action with a significant portion of radical black humor. However, I think that not everyone will understand his irony, as was the case with Reservoir Dogs, watching which people would simply faint. Heads in the film explode like watermelons, brains fly out with the speed of a gun shot, the characters literally bathe in bloody baths and vomit with pressure like a cannon. By the end of the film, Jennifer D. Lee will look like the epitome of an absolute nightmare, a witch descended from Bosch's paintings. Tarantino plays with fire here, risking losing his style and sense of proportion, but in my opinion, nothing like this happens. He perfectly checks the balance, exceeding the degree of absurdity just enough so that the whole action of the second half appears in the form of kitsch, self-parody, in contrast to the "great style" and grandeur of the first movement.

It is worth noting that he would hardly have succeeded without the active support of legendary special effects masters John Dykstra and Gregory Nicotero (who returned to his 'From Dusk Till Dawn' style in '8'). But the main thing is that the viewer is emotionally prepared for what is happening thanks to the genius music of Ennio Morricone. This "classic", who went all the way of development with the western, somehow caught the very mood of this terrifyingly funny tape. In the most intense, bloody and absurd scenes, his orchestral compositions with a slight dissonance and atonality are reminiscent of Shostakovich's style with his black humor.

Overall, Tarantino's eighth film turned out, in my opinion, great. Although, I think, not everyone will accept it unambiguously. In fact, these are even two films by two directors. The first knows how to shoot majestically, aristocratic like Visconti, creates a whole world, depicts a complex of the most diverse relationships between characters at all levels - from social to existential, is able to philosophically show the fluidity and inconstancy of personality, law and meaning. And the second came out of the 'Grindhouses' and the exhibition movie, for him the main thing is the black humor of the gallows, explosive scenes, destruction, chaos, violence, reaching the limit and flowing into self-parody. Tarantino is one of the few directors who know how to combine the incongruous - kitsch and classics, high-budget action and intellectual cinema. He is like a bridge between the past and the future. The G8 proves that this bridge is pretty damn solid so far. Marketers have nothing to do with Tarantino.

Info Blu-ray
Codec: AVC (38.0 Mbps)
Resolution: Upscaled 4K (2160p)
Aspect ratio: 2.76 : 1

English: DTS 5.1
Spanish: AC-3 5.1

English, Spanish

Info Blu-ray
File size: 38.1 GB
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17 May 2018 18:48
Awesome!! Thank you very, very much for sharing!! Looks amazing :D
27 May 2024 06:44

It only has audio in English and does not have Spanish subtitles. Can you update the file?

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