Well, it’s either that or that I’m lazy. I have been busy in real life, though, and it’s sometimes hard to prioritise a blog post, even when I have something I actually want to say.

Which I really don’t, right now.

This is where I wanted to do a thorough write-up on The Hateful Eight, the new Quentin Tarantino film I watched in 70mm Ultra Panavision at the Imperial in Copenhagen, Denmark. Unfortunately, life got in the way and I’ve had no time to spend on my occasional blog, so here are the highlights:

The film itself is a typical Tarantino film, relying heavily on dialogue and actors doing what the director tells them to do. This, however, means closeups and not much else, which brings me to my next point.

Ultra Panavision is, well, ultra wide. Among the so-called letterbox formats, it’s ridiculously wide. As it’s a 70mm format, the resolution is, at least theoretically, ridiculously high, bringing me to my third point.

There are very few shots that actually require that resolution. Most of them don’t, and even though I know there are people who will disagree with me, this film would have fared better without the 70mm format. So here’s my fourth point.

The Hateful Eight, also known as H8, would have been a better movie, at least a more enjoyable one, if filmed in a less extreme format. As things stand, the ultra wide screen is a distraction, and the resolution, while nice, is not needed. The story is there regardless, but the format is, well, abused. Which brings me to my fifth point.

It is in the nature of the format itself that it lends itself better to the kind of film that makes actual use of its grandeur. It is also a format that no-one could run unaided today; the company had to provide cinemas with projectors and lenses and whatnot, or the shows would have been limited at best, even for the cinemas that do have their 70mm equipment intact. See, Ultra Panavision requires a special kind of lens that no-one has today, and very few had in the 60s when the format was last used at all. It’s not your garden variety 70mm, it’s, well, ultra special.

So to my last point: H8 does a disservice to every filmmaker wanting to film in 70mm since it uses the format wrong, in my humble opinion. It happened because Tarantino had the clout to do it, not because it was required. As a result, the presentations, including that at the Imperial, were lacking, sometimes severely, because it’s the one format that no-one can screen without help.

The film itself? Well, typically Tarantino. Think Reservoir Dogs with lots of money and hype.

I’ve been at the movies twice in the last two weeks, which is extraordinary for me, these days. There was a time when I watched hundreds of movies every year but then I got kids, work got in the way, and all that. I’m now part of the lost generation, as the cinema owners call it. Before October (hmm, November?) of last year, the last one I watched was in 2008.

Anyway, first I saw the new Star Wars with my wife. I enjoyed every minute of it, to be sure, but when the end credits rolled I was disappointed, nevertheless. First and foremost, in a single stroke, they had undone everything Luke Skywalker stood for in the first three movies in one swift stroke. What took him two and a half movies took Rey the Jedi Savant about one minute. Learn about the Force? Nope, you don’t need a master, just do our Lightning Course. Nope, you don’t need to train, all you need is a first, um, victim. Nope, no need to plan ahead. Build it and they will come. Just do it, as the commercial says.

Second, the script, um, wasn’t. What I saw was rearranged from (mostly) the first three movies, you know, that best kind of flattering. Probably why people approved of the thing, probably why they thought it was what #4 should have been. And probably why I was screaming inside for all of it, in spite of enjoying it.

See, JJ Abrams is talented. Really talented. He knows how to tell a story, he knows what is going to get you. He did it twice with the Star Trek reboot and he did it now. Because a reboot it was, no doubt about it. It was disguised as a sequel but very thinly, and he rewrote the business rules in one efficient stroke.

And third, the coincidences and happy accidents that framed the story, from the stupid robot landing within bargaining sight from Rey the Savant to Han Solo and the wookie to encountering right after lift-off (with the bloody Millennium Falcon!), they were a bit much.

I miss George Lucas’s attention to detail, his sense about what all this means. Sure, I don’t miss Jar-Jar, but c’mon, he was *never* important.

Of course, I will watch #8, and if the director is as good as JJ, I will enjoy it, but the battle was lost in this one.