There is more than one way to watch a movie in the current landscape, and so studios these days are doing whatever they can to get butts in theater seats. Although a 15-minute break in the middle of a three-hour movie allows for a fantastic physical break, the real pleasure came from having a chance to pause, think about what you've already seen, discuss your feelings with your neighbors, and mentally prepare for what comes next. For every filmgoer who was giddy to get back to their seat for the final stretch, there was someone else who was more wary about what lay in store. During the (hugely necessary and well-timed) intermission, you could feel the mixed reactions brewing in the air. Whether that crowd is laughing at its pitch-black comedy, cheering on its merciless cast of vicious characters, or cringing at the third act's brutal and bloody violence, this is a film that all but demands an audible reaction every few minutes or so. The Hateful Eight is a lot of things, but it is, above everything else, a crowd movie.
Film's Jacob Hall had a chance to sit in on a screening, and he had this observation: No, " The Hateful Eight" would be projected in real deal Holyfield 70mm, a format that was good enough for the likes of "Lawrence of Arabia" and Christopher Nolan's 2017 war picture "Dunkirk." In this "roadshow release" of "The Hateful Eight," an overture and intermission would play. Through a limited engagement campaign, the ensemble Western opened on 100 screens across North America, and with none of that namby-pamby digital projection. Upon the 2015 release of "The Hateful Eight," the "Jackie Brown" writer-director decided to usher moviegoing audiences back to a time when the movie was a capital-E Event.
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