By Jake Howell jake.howell@utoronto.ca

From Cannes, 90 Seconds Of HATEFUL 8

In 2012, when there was a Django Unchained banner resting high above the Croisette, it felt like a poorly-kept secret that The Weinstein Company would be showing extended footage of Tarantino’s 7th film (this is after a few weeks of speculation that the film would be ready for Cannes, until it wasn’t).

And sneak us some Django they did. Three years ago, that event was more intimate—and more pertinently, the event was smaller. That year TWC showed only three films: The Master, Silver Linings Playbook, and then a number of memorable scenes from Django, and by the time it was over, everyone was pretty ramped up. And recall that all three films of those films were strong.

Weinstein’s panel this year showed sneak peek teasers of ten titles: Adam Jones, Southpaw, Carol, No Escape, The Little Prince, Macbeth, Tulip Fever, Hands of Stone, Lion, and The Hateful Eight.

By the end of it, with each one of them more or less informing us of the respective Academy Award winning/nominated talent (I mean, it’s Weinstein, c’mon), the films and trailer beats began to merge together as a shrug-worthy reel of “yup, those are movies alright,” and realistically very little stood out, including The Hateful Eight, which I’m up front about being in the tank for when it eventually hits my eyeballs.

Impressions: they’re hard and probably reductive, especially when we’re only given 90 seconds. I realize now that I wrote none for Tarantino’s film, because I was glued to the screen for as much information as possible. Still, nothing much to glean. The teaser opened with Samuel L. Jackson saying to a mysterious carriage, “Got room for one more?” which spoke to me as a line coming from QT himself, somehow; as if he’s trying to make sure he hasn’t overstayed his welcome with Django being universally understood as too long.

Yeah, man, we got room for one more. Don’t start writing novels just yet.

But realistically: this Hateful Eight footage was almost 100% dialogue. Basically zero violence. And in terms of lines, I didn’t hear anything that was really humming or notable—is that a bad sign? Hard to say. Previous trailers don’t have that issue. But Tarantino staples, like a pointed gun under a wooden table, were certainly back (though I’ll say that particular image felt like a retreading), and the tagline “Eight strangers / one deadly connection implies that the film is going to have more of a Reservoir Dogs feel in that stand-off scenario (or competing interests) way. I haven’t read the script, which has surely changed loads since its leak, but that’s the way it felt.

Other highlights from this demo, surprisingly, were from Adam Jones, a film where Bradley Cooper plays a high-end executive chef. I can’t say much distinctively about this—it’s a Bradley Cooper comedy/drama!—but it definitely had a stronger sense of artistic variation. Shots of food; a distinct element of pacing, like the film is going to be a three-course meal. It also featured “Trainwreck” by DFA1979, which is a sign of confidence to me. The screening led with this and closed with Tarantino, which felt deliberate, and perhaps another hint to overall quality to their 2015 slate.

Southpaw, featuring a totally busted-up and tattooed Jake Gyllenhaal, looks like it might actually be pretty interesting. It’s certainly looking stronger than the seemingly-mediocre Hands of Stone, a Robert De Niro boxing film that managed to show us its entire rote plot in 90 seconds.

No Escape – Owen Wilson is not a dramatic actor. He should not be in dramatic movies, especially some that look like they’re easily recut with the addition of Yakety Sax as a braindead romp. “How far will you go,” the film asks, “to protect the ones you love?” If it involves walking to a cineplex to see this unlikely motion picture event, that might be a difficult question.

Finally—and I know these thoughts are fairly disjointed—Alicia Vikander (Ex Machina) and Rooney Mara are sure to have a big year, given their two films apiece for Harvey. At the event Gyllenhaal was also trumpeted by Weinstein himself as having deserved a nomination for Nightcrawler, which he hopes to “get revenge” for with Southpaw. Maybe? Who knows. But the rest of the crop seemed a little too gimmicky, or perhaps a worthwhile attempt at awards. The Little Prince, mind you, did have some intriguing combinations of animation style, which was cool to see (think Pixar CG in one scene, stop-motion the second). Carol looked very strong, yet impossible to gauge—it’s not that kind of movie. But then again, we’re seeing Carol this week in the Competition, so stay tuned.

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“The purpose of film isn’t to present the kindness of the world.”
~ Isabelle Huppert

The Promised Land steers into the fact that the United States can mean whatever people want it to mean. You may not be able to be Elvis, but you can sure as shit impersonate him for a living. America, like its current President (at least as of this article’s publication), is so dangerous precisely because it’s a blank canvas on which anyone can project their dreams. Whatever it is that you see for yourself, there’s someone you can pay for the pleasure of believing that it’s possible. In his view, the pursuit of happiness is the ultimate con, a delusion that prevents us from seeing our circumstances for what they are.

“Forget the Matrix, it’s the invention of happiness that blinded us to the truth. The rich got richer and the poor help them do it. Jarecki doesn’t argue that the American Dream is dead; he argues that it was never alive in the first place — that we were all lobsters in a pot full of water that was boiling too slowly for any of us to notice. And now it’s time for dinner. Donald J. Trump is the President of the United States. Elvis has left the building.”
~ David Ehrlich