In my opinion, Tarantino’s greatest gift as a screenwriter is his ability to generate tension by crafting genuinely open-ended set pieces. For me, the locus classicus is the scene in True Romance where James Gandalfini is interrogating and torturing Patricia Arquette. Even though Patricia Arquette is one of the primary characters, the viewer gets the sense that she really could die — not only in the moment, but in the context of the film as a whole. The outcome is not preordained, and that contributes to the triumph when she finally does overcome him.
There are countless setpieces like that in the films Tarantino actually directed. In fact, it’s fair to say that Tarantino is fundamentally a creator of setpieces rather than a builder of large-scale narratives. This is clearest in his most successful film, Pulp Fiction, where the different segments take place in the same narrative world without necessarily cohering into a single plot. The structure of Inglourious Basterds is very similar — everyone winds up in the same place in the end, but that represents the convergence of two separate plots to kill Hitler rather than the culmination of a unified narrative. When he needs to create an overarching plot, Tarantino tends to rely on genre conventions to do that work for him, as in Django Unchained.
And this brings me to my disappointment with Hateful Eight: there’s not enough of that Tarantino tension. The only classical setpiece is the face-off between Samuel L. Jackson’s character and the Confederate general. That scene, it seems to me, could have gone either way. Everything else is too preordained. You know everyone is going to die, and you don’t have enough investment in most of the characters to be genuinely curious as to how. Worst of all in this regard is the flashback that reveals the initial setup — it’s the opposite of a Tarantino scene, because you know precisely what will happen.
I’m willing to be convinced that Tarantino is doing all of this on purpose in the service of some greater aesthetic goal. Indeed, I hope that someone has a theory in that regard, because it would help to “save” the film for me by making it interesting — but I’m just not sure anything could make it seem as intuitively entertaining and enjoyable as Tarantino’s best.