In 2008 a fascinating documentary called “Man on Wire” told the story of French tightrope artist Philippe Petit and his 1974 high-wire walk between the Twin Towers of New York City’s World Trade Center. Petit’s dream walk required an elaborate covert operation to both setup and perform the act. He extended his steel cable from the roof of one tower to the other – 138 feet across and a quarter mile above the ground. He then performed for an astonishing 45 minutes, crossing over eight times, all with no safety harness.

The documentary was based on Petit’s autobiography “To Reach the Clouds”. “The Walk” is taken from the same book but put in a more dramatic form. Robert Zemeckis directs and co-writes this unusual biopic that presents itself as a documentary with flashbacks. Joseph Gordon-Levitt’s boyish charms make him a good fit to play Petit. We spend time with him as a struggling teenage street performer and then later as an ambitious twentysomething staging a death-defying feat.

Zemeckis and co-writer Christopher Browne structure their film almost like a testimonial and motivational speech. Gordon-Levitt’s Petit is basically telling us his story while standing on the torch of the Statue of Liberty with the New York City skyline nestled in the background. Stylistically, it’s an odd choice.

The film spends a lot of time on Petit’s early struggles in Paris. Some of the backstory is interesting such as his prickly relationship with circus leader and future mentor Papa Rudy (Ben Kingsley) as well as his initial efforts to become a high-wire artist. There is also a romance between Petit and a street musician named Annie (Charlotte Le Bon). It’s a bit undercooked, but Gordon-Levitt and Le Bon sell it thanks to a charming chemistry. Other bits of backstory don’t work as well. For example a soured relationship between Petit and his Army pilot father is shoehorned in and is terribly underdeveloped.

Once the story shifts to New York City it takes on a heist film vibe. Petit begins planning his “coup” which requires a host of accomplices. The film spends a fair amount of time putting the group together but few of these people are given much meaningful to do. James Badge Dale, armed with charisma and one funky hairdo, is the most fun of lot. They all work together to set up every detail of the wild and elaborate plan.

Through all of the character history and careful planning the narrative sometimes sputters in its attempt to maintain a crisp pacing. But once it comes time for the big act “The Walk” is every bit as high-tension and breathtaking as you would expect. I didn’t see the film in big screen 3D or IMAX yet I still felt the amazement, lightheadedness, and nervous energy brought on by the film’s special effects wizardry.

Gordon-Levitt’s performance is pretty remarkable too. Not only did he learn tightrope walking from Philippe Petit himself, he also learned the French language and tirelessly worked on his accent with teachers and several French cast members. He’s incredibly committed and becomes the head salesman in this story of following your dreams no matter how impossible they may seem. There are lulls that hurt that message, but the film’s grand visual finale is an eye-popping treat.

VERDICT – 3 STARS

Alfred Hitchcock was a cinematic master. We can all agree on that. Look back on his incredible filmography and you’re sure to find a number of classic films and unforgettable scenes. That’s what today’s Phenomenal 5 is examining – great Hitchcock scenes. Now when starting this talk there is one that will automatically come to everyone’s mind – the shower scene from “Psycho”. For that reason I’m leaving it off. There are still so many superb scenes to choose from so I wouldn’t call this the definitive list. But there is no denying these five Hitchcock scenes are certainly phenomenal. Oh, and be warned, since these are scenes within the movies there are POTENTIAL SPOILERS.

#5 – The Gas Station Scene – “The Birds”

You could probably pick out five or six scenes from Hitchcock’s 1963 horror thriller “The Birds” and each would deserve a spot on this list. I’m going to stay away from a couple of obvious choices and go with the spectacular gas station scene. Let me just put it this way, birds attack gas station, gas pours out of nozzle, man lights match near gas, BOOM!

#4 – The Murder? – “Dial M for Murder”

Why would anyone want to murder Grace Kelly – the beautiful, elegant, entrancing Grace Kelly? Ray Milland wanted to in Hitch’s 1954 crime thriller “Dial M for Murder”. There are so many dramatic threads that lead to this incredible murder scene. Hitchcock’s camera and Rudi Fehr’s strategic editing makes it one of the director’s most intense and satisfying sequences.

#3 – Intersection & Cropduster – “North By Northwest”

This particular scene from 1959’s “North By Northwest” could be broken down into two different but equally glorious parts. The first features Cary Grant alone at an isolated crossroads with farmland all around. The mystery behind the scene is enhanced by Hitchcock’s superb camera work. But then it transitions into one of Hitch’s most famous scenes – the cropduster attack. It’s equally brilliant.

#2 – The Carousel – “Strangers on a Train”

Hitchcock’s 1951 psychological thriller “Strangers on a Train” is a testament to the filmmaker’s incredible talent at creating tension and carrying it through his entire film. In this particular case it all comes to a head when our two main characters have a showdown on (of all things) a merry-go-round. The scene offers one of Hitchcock’s most visually thrilling moments.

#1 – Thorwald Returns – “Rear Window”

Here we are again, talking about great tension and Grace Kelly in trouble. Such is the case in this superb scene from 1954’s “Rear Window”, my favorite of Hitchcock’s films. You know it’s not going to go well the very moment Kelly breaks into the mysterious Mr. Thorwald’s apartment. A wheelchair bound Jimmy Stewart can only watch from his apartment window as Thorwald returns to find Kelly snooping where she doesn’t belong. And that glance Raymond Burr gives. Priceless.

So there are my choices for the best Hitchcock scenes that didn’t come from “Psycho”. See any you disagree with? How about ones that would have made your list? Be sure to share your thoughts in the comments section below.

For several years now the independent movie scene has offered up some of the better and more intelligent teen movies in ages. Mainstream studios continue to milk every current fad as evident by the steady flow of teen dystopian flicks and rocks-for-brains raunchy comedies. But independent cinema continues to provide a platform for unique voices and perspectives.

A more recent example comes in the form of the awkwardly titled, conjuction-heavy “Me and Earl and the Dying Girl”. It’s a film that straddles so many fine lines. At different points it flirts with being too whimsical, too weepy, too self-aware, too hip, or too cliché. Miraculously it balances itself well throughout its journey from breezy, stylistic comedy to sensitive, bittersweet drama.

Alfonso Gomez-Rejon directs the film which is based on Jesse Andrews debut novel (Andrews also wrote the screenplay). Thomas Mann plays Greg, the ‘Me’ in the story. He is a demure and self-loathing high school senior who manages his outcast status by subtly mingling with every social group at school but never truly connecting with any of them. His one friend is the brusque and outspoken Earl (RJ Cyler), although Greg doesn’t call him a friend. He’s a “co-worker”. The two spend their time making crappy short films which are parodies of all kinds of classic movies.

The “Dying Girl” is Rachel (quietly yet keenly played by Olivia Cook) who has just been diagnosed with leukemia. Greg’s insistent mother (Connie Britton) forces him to hang out with Rachel which eventually sparks the reluctant friendship at the center of this film. The relationship becomes therapeutic for both of them providing a refuge from each of their very different personal ills. We’re tossed a curveball or two which keeps this from being just another teen cancer picture even after the story takes a slightly more serious tone.

But unlike the good but hankie-heavier “The Fault in Our Stars”, this movie relies on its sense of humor and attitude. One of its strengths is how it both highlights and irreverently squashes all of our conversational timidity and awkwardness when it comes to such weighty subjects as cancer. We get conversations rich with witty back-and-forths and uncomfortable honesty.

As hard as it tries to be unique and subversive, certain elements of it will undoubtedly feel familiar. And sometimes you can sense it trying hard to be stylish and to show off its pop culture coolness. But Gomez-Rejon deserves a ton of credit. He avoids so many of the trappings that would make this an easy film to dismiss. Instead he gives us something that is genuinely witty while never compromising its earnestness. It’s a story with a lot to say about the value of true friendship and it’s not ashamed to tackle a difficult subject in its own personal way. I kinda like that boldness.

VERDICT – 4 STARS

It seemed that “Far from the Madding Crowd” was one 2015 film that came and went with practically no fanfare. That’s a shame because any movie with Carey Mulligan as its lead is worth talking about. Mulligan is one of the most emotionally earnest actresses working today which is strikingly clear in the two movies she released last year, “Suffragette” and this one.

The film is directed by Thomas Vinterberg whose last film was 2012’s stinging social indictment “The Hunt”. Here he takes the reins of this fresh, new adaptation of Thomas Hardy’s classic 1874 novel. It’s the third time the story has been turned into a feature film and the first since Julie Christie’s 1967 treatment. Vinterberg narrows his focus to give us a much more compact telling of Hardy’s romantic period drama.

It’s set in 19th century rural England and tells the story of a headstrong woman and the trio of men who pursue her hand in marriage. Mulligan plays Bathsheba Everdeen (the inspiration for “The Hunger Games” protagonist Katniss Everdeen). She’s an independent hard worker on her Aunt’s small farm when she meets Gabriel Oak (played by Matthias Schoenaerts). He has invested his savings in a healthy patch of land for his sheep farm. He is the first to fall in love with Bathsheba.

A reversal of fortune sees Gabriel selling his farm and hunting for work while Bathsheba leaves her Aunt to claim a huge profitable farm left to her by her uncle. The large farm next to her new property is ran by a wealthy bachelor (Michael Sheen) who is quickly smitten with her. Later a third admirer enters the picture in the form of a charismatic but weaselly soldier played by Tom Sturridge.

David Nicholls handled the screenplay duties and chose to put his focus on the key relationship between Bathsheba and one of her three suitors. It’s a decision that allows for Vinterberg to tell a tighter and more economical story that gives the central romance room to breath and develop. It also allows the actors the time to fully flesh out these characters particularly Mulligan.

There is a hypnotic quality to Mulligan’s acting. She has an effortless honesty that is seen in every detail of her performances. Here it’s found in the layers of humanity lying beneath her character’s tough, confident exterior. But she also shows those slight breaks of vulnerability which never compromise the character. It simply makes her human. Mulligan is the perfect actress to convey it all to us. She can say so much through a slight grin or a subtle roll of her eyes.

Matthias Schoenaerts is also an important part of the film’s success. The Belgian heartthrob is a believable mix of farmland physicality and humble, earnest subservience. You never doubt him. Michael Sheen is also very good giving us a character that undergoes a few subtle transformations. Sturridge gives the only performance that is a bit uneven. He’s not bad but his tendencies to go big doesn’t always serve the scene well.

As you watch “Far from the Madding Crowd” you’ll have a pretty good idea how things are going turn out. But that’s okay because the movie is so well made and the performances are top notch. There is just a great flow to Vinterberg’s version of the Hardy classic and its easy to fall into the beautiful period setting and the simple charm of the story. It also offers another example of Mulligan’s magic as an actress.

VERDICT – 4 STARS

Today marks the fourth year that I have put together this esteemed look back at the past year in movies. I simply call these The K&M Random Movie Awards. Even the name drips with prestige and importance. Now these awards aren’t for the regular routine stuff. These are completely random categories yanked out of the air and presented to you. Now, without further delay, the red carpet ceremony is over. Lets get to the awards…

Worst Sequel – “Terminator: Genisys”

And it started off really good. I thought this could really be a fun and nostalgic Terminator film. Unfortunately is spirals out of control. The new characters are flat. The story is ludicrous. The major plot twists are revealed in the trailers. At least the action was good.

Best Dinner Table Scene – “Sicario”

‘Best’ may not be the best way of putting it. If you’ve seen “Sicario” you know what I mean. I’m not going to spoil anything but Benicio Del Toro has a dinner table scene that will lodge in the back of your mind and stay there. It’s tense, mesmerizing, and unforgettable.

Worst Ending – “The Boy Next Door”

It kinda makes sense that the worst ending would come from one of 2015’s worst movies. “The Boy Next Door” ends with one of the stupidest finales I’ve seen in a while. A certain character goes all Michael Myers on us and the gaping plot holes the ending leaves behind  is baffling.

Best Ensemble – “Spotlight”

Several 2015 movies put together stellar ensemble casts. But no ensemble worked together better than in Tom McCarthy’s “Spotlight”. Keaton, Ruffalo, McAdams, Tucci, Schreiber, James, and Slattery all put aside personal big moments and concentrate on making the story the true focal point. It’s superb work.

Best Documentary – “The Look of Silence”

While I did really like “Amy” and “Meru”, neither came close to “The Look of Silence”. Joshua Offenheimer’s powerful companion piece to “The Act of Killing” is more personal but just as piercing. It’s impossible to watch this documentary and not be effected.

Biggest Movie Surprise – “Creed”

I had absolutely no expectations for this thing at all. But Ryan Coogler showed that he is one of the best young filmmakers in the business. Add in a solid lead performance by Michael B. Jordan and Sly Stallone’s best work since the first Rocky film. What a surprise.

Best Cinematography – “The Revenant”

Again, lots of great options but what could possibly beat the spectacular work of Emmanuel Lubezki in “The Revenant”. The film gives us scene after scene of gorgeous visuals. Some simply captures the land’s natural beauty. Other times it’s the intensity of the action. And then there are the numerous scenes that left me saying “How did they do that?”

Biggest Movie Disappointment – “Spectre”

Sigh. This should have been good. It should have been REALLY good. Instead “Spectre” makes a number of significant mistakes that keep it from being anywhere near as entertaining as its predecessor. “Spectre” isn’t a terrible movie, but it’s nowhere near as brilliant as I thought it would be.

Funniest Comedy – “What We Do In the Shadows”

I’m a bit hard to please when it comes to comedy. I admit that. But after only a few minutes “What We Do in the Shadows” had me belly laughing and I knew it was something special. The absurdity is funny in itself, but despite that the humor is smart and perfectly presenting. I love it.

Most Shocking/Disturbing Scene – “Bone Tomahawk”

Yep….that scene. You know the one. If you have seen “Bone Tomahawk” you know exactly the scene I’m speaking of. Men will have an especially hard time sitting through it. In fact, I’m starting to squirm as I type this. Let’s move on to the next category please.

Most Thrilling Scene – “Sicario”

Fairly early in the “Sicario” a team crosses the United States/ Mexico border into Juárez to secretly extradite a prisoner back across the border. The sheer intensity built up through Villenueve’s direction and Deakins’ cinematography was unmatched in 2015.

Most Unfairly Maligned Film – “In the Heart of the Sea”

While it is far from a perfect film Ron Howard’s “In the Heart of the Sea” is far from the horrible slog that many portray it as. In fact, it’s actually quite good. As is often the case, the problem may have come from the advertising. It was portrayed as something different than what it actually was. That still doesn’t mean it’s a bad film.

Most Overly Praised Film – “The Hateful Eight“

Yes, I know I know. I’m wrong. I’m off my rocker. Still, I can’t help it. “The Hateful Eight” is a shining example of the obsession Quentin Tarantino has with his own style and formula. It also shows his propensity to overwrite nearly every line of dialogue. All of these things drag this film down and wastes a perfectly good concept.

Dullest Action Film – “The Gunman”

Armed with a chiseled physique, an assortment of weapons, and a constant sourpuss scowl, Sean Penn turned into an action star in “The Gunman”. Just not a very good one. While the action is kind of satisfying nothing else works in this boring forgettable mess.

Worst Villain – Balam (Eddie Redmayne) “Jupiter Ascending”

Ahem…pardon me as I regain my composure. You see, every time I think of Eddie Redmayne’s character and performance in “Jupiter Ascending” I start to crack up. He seems completely lost, talks like a 5 pack-a-day smoker, and doesn’t have an ounce of menacing presence. Now excuse me, I’m starting to laugh again.

Worst Movie of the Year – “Mortdecai”

I had a post dedicated to this a few weeks ago, but it’s worth mentioning (or warning people). “Mortdecai” is a horrible movie. Stupid and unfunny despite its slightly promising premise. Depp keeps shoveling out stinkers. When will his career start to suffer?

Best Movie Trailer – “The Revenant”

From the moment I first saw the trailer for Alejandro González Iñárritu’s “The Revenant” I was hooked. It gives a perfectly measured look at the film’s story, tone, intense cinematography, and haunting score. It builds and builds right up until a moment of silence featuring the title shot. Perfectly done!

Best Use of Disco Music – “The Martian”

In one of the more serious categories of the awards, we look at 2015’s best use of disco music in the movies. Obviously there were a ton of candidates but “The Martian” gets the nod. While the movie does overuse the gag, it still offers up some pretty good laughs.

Most Fashion Conscience Film – “The Man From U.N.C.L.E.”

No one is opposed to looking good, right? That especially goes for the characters in Guy Ritchie’s “The Man From U.N.C.L.E.” Henry Cavill’s dapper suits, Armie Hammer’s stylish turtlenecks, and Alicia Vikander’s chic dresses and snazzy sunglasses. Of course they deserve an award.

Best Western – “Slow West”

In many ways 2015 was the year of the subversive western. My favorite of the bunch was John Maclean’s “Slow West”, an almost Coen brothers-esque tale featuring a small but strong cast and a truly great ending. More people need to see this one.

Biggest Slimeball Character – Michael Shannon (“99 Homes”)

Michael Shannon is a fabulous actor and the guy can play just about anything. In “99 Homes” he plays a crooked real estate operator who makes his money tossing debt-stricken people out of their homes. He is a thoroughly wretched individual and Shannon will have you hating him from his first scene until the end.

Best Action Film – “Mad Max: Fury Road”

How can you turn on “Mad Max: Fury Road” and not be hypnotized by its rolling carnival or vehicular carnage? George Miller pulls no punches in delivering one of the most eye-popping and energetic action romps of the last 10 years. You literally can’t take your eyes off of it.

Best Directorial Debut – Joel Edgerton (“The Gift”)

There were several really good directorial debuts in 2015. For me the most impressive one came from Joel Edgerton. He wrote, directed, and co-starred in “The Gift” which was a twisty and immersive thriller. Edgerton’s pacing is superb and his slow buildup throughout the film kept me on my toes. Can’t wait to see what he does next.

Worst Movie Title – “Get Hard”

Okay, do I really need to go into much detail here? Is it really necessary for me to explain why “Get Hard” wins this category? Didn’t think so.

Best Chase Sequence – “Mission: Impossible Rogue Nation”

It shouldn’t surprise anyone that a Mission: Impossible movie has a good chase scene. Actually this installment has a GREAT one. It starts as a car chase through the tight streets of Casablanca before turning into a wickedly thrilling high-speed motorcycle chase. It’s an incredibly shot adrenaline rush.

Best Couple – “Brooklyn”

One of the more pleasing elements of “Brooklyn” is the sweet romance at its center. Saoirse Ronan and Emory Cohen have such a charming chemistry that bubbles every time they are on the screen together. It isn’t corny or shallow. It simply works because of the great chemistry between the two.

Dumbest Plot Point – “Jurassic World”

You’ll always find some pretty dumb moments that stick with you through a full movie year. By far the dumbest of 2015 came in “Jurassic World” in the form of (wait for it…..) a sinister plot to train and weaponize velociraptors for military use. Yep, I don’t think I need to say anymore.

Breakout Performance (Male) – Abraham Attah and Jacob Tremblay

Call this a cheat but both of these young men deserve attention. It was a great year for child actors and at the top of the list is Abraham Attah (“Beasts of No Nation”) and Jacob Tremblay (“Room”). To see this type of authenticity from such young performers is mind-boggling.

Breakout Performance (Female) – Daisy Ridley

I was expecting a lot out of the new Star Wars film and I got a lot out of it. But one of the greatest discoveries was Daisy Ridley. It’s not only that she gave us a really great and fresh character, but she is also a very good young actress who instantly catches your attention.

Best Stagecoach Scene – “The Salvation”

You may think “The Hateful Eight” has this one in the bag but nope. “The Salvation” opens with an unnerving stagecoach scene that puts the whole story into motion. It’s a disturbing and immediate gut punch that instantly draws you into this revenge tale.

Stupidest Adam Sandler Movie – “The Ridiculous 6”

What’s the deal with this category you may ask? Well Sandler put out three crappy movies this year. Yes..THREE! You may think one would happen to be good. Nope. All were stinkers but “The Ridiculous 6” may be the worst of the bunch. And since he bludgeons our senses with his stupidity, he deserves a fitting award for doing so.

Most Exciting Theater Experience – “Star Wars: The Force Awakens”

Opening night. People everywhere. Long lines. Enthusiastic fans. Star Wars shirts. The blue screen text. William’s blasting horns. Star Wars was back. And I mean real, true Star Wars. What an awesome experience it was to see Star Wars back on the big screen and to feel like a child again.

Best Fight Sequence – “Furious 7” (Statham vs. Diesel)

What do we expect from a Fast and Furious movie? Fast cars, big explosions, and of course a big league fight or two. Jason Statham took on Vin Diesel in this year’s installment and it didn’t disappoint. Their showdown on the top of a parking garage featured all of the punches, kicks, and slams you would expect. And it really delivers the fun.

Most surprising Performance – Paul Dano (“Love & Mercy”)

Paul Dano can be a very frustrating actor. He doesn’t know how to temper a performance and he requires very specific roles to be good. Something clicked in “Love & Mercy”. Dano shows a side I haven’t seen before. It’s exciting and it leads me to believe he is truly learning his craft. It is a fantastic performance.

Best Ending – “Phoenix”

Great endings aren’t required to feature big fights or huge explosions. Sometimes a quiet moment can carry twice the power. Such is the case in “Phoenix”. No spoilers here but the ending is such an perfect stroke that will leave you absolutely speechless.

That’s it for this year. Hope you enjoyed it. Let’s do it again next year.

They are two of the biggest and most talked about movies currently in theaters. They are both wildly ambitious, sprawling period epics. They are both made by directors with distinct flamboyant styles which are either loved or hated. I’m talking about Alejandro González Iñárritu’s “The Revenant” and Quentin Tarantino’s “The Hateful Eight”.

I have been fascinated by the responses to these two films. Both have evoked predominantly positive reactions, but the praises come in different forms and from different places. Tarantino diehards are arguably the biggest and most vocal fans and, despite a few critical misgivings and being shunned by the Oscars, most of them really went for “The Hateful Eight”. Iñárritu certainly doesn’t have the enthusiastic personal fanbase, but despite similar critical misgivings, “The Revenant” has struck a chord with audiences and the Academy where it is sitting on 12 Oscar nominations.

While I usually don’t see the point in comparing movies one-on-one, I found the subtle and obvious similarities between these two giant films combined with the many passionate positive and negative opinions too intriguing to pass up. It gave me a good reason to go back and re-examine both films and my initial takes on them. So for what it’s worth here are my thoughts on each and how they compare.

“The Hateful Eight” (FULL REVIEW)

I don’t know if there is another filmmaker more smitten with his style than Quentin Tarantino. Never before has this been more evident than in this film. I absolutely love the idea behind “The Hateful Eight”. It offered Tarantino the opportunity to truly expand himself as a filmmaker. It allowed him the chance to uniquely use his great talents for creating sublime visual presentations and fabulously entertaining characters. All he would need to do is dial back his impulsive style and get himself out of the way.

That proved to be something he just couldn’t do. In spite of all “The Hateful Eight” does right, it simply can’t overcome Tarantino’s compulsion to put his personal stamp on every inch of the film. It’s seen in the wildly overwritten script. It’s seen in the bursts of absurdly over-the-top graphic violence, some of which is distractingly stupid. It’s seen in the incessant and flippant use of the n-word without any meaningful commentary or the use of his one meaningful female character as nothing more than his physical and verbal punching bag.

I still firmly believe that a wonderful film lies somewhere inside of what we get with “The Hateful Eight”. A smarter and more focused approach could have resulted in something much more satisfying. But Tarantino relentlessly beats his own drum without an ounce of modulation. To be fair many people, particularly fans of his brash style, truly love the film and have eloquently defended it. But despite what I liked about “The Hateful Eight”, my experience is muddied by the frustration of knowing what could have been.

“The Revenant” (FULL REVIEW)

Like Tarantino, Alejandro G. Iñárritu is completely devoted to his particular style of filmmaking. In the past that has meant some pretty pretentious movies that often wallow in suffering, sadness, and misery. “The Revenant” certainly has some of those elements, but strangely enough Iñárritu is able to use these very same indulgences to create a truly mesmerizing cinematic experience.

“The Revenant” maintains a fairly simple narrative within its grand scale. But often times the simplest can be the most compelling. And unlike “The Hateful Eight”, Iñárritu’s focus is always clear and he never smothers his story with his own brand. It’s certainly not an easy watch. The pain and suffering is still there, but every ounce of it feels authentic. Iñárritu holds a tight-fisted control of his film which in the past has been cause for concern. Here it works masterfully.

But there is also the huge importance of the visual presentation. Iñárritu and the great cinematographer Emmanuel Lubezki give us some of the most spectacular images of the year. Some spotlight nature’s untamed beauty. Others contrast that with the ugliness of humanity. Some simply capture action scenes with intense artistry. Both filmmakers are visual masters, but its Iñárritu who uses his cameras better to serve his story and themes.

VERDICT

For me “The Revenant” tops “The Hateful Eight” in nearly every meaningful category. Between the two, it’s the one that has stuck with me the most and that impressed me enough to see it a second time. Again I want to stress that in “The Hateful Eight” Tarantino fans will undoubtedly see many of the creative strokes that make them Tarantino fans. Me, I saw many of the things that frustrates me about his filmmaking amplified x10.

For what it’s worth those are my thoughts. But what say you? What are your thoughts on these two movies and the two unique, stylized filmmakers behind them? I’ve shared my perspective. Now I would love to hear yours.