Quentin Tarantino’s new movie "The Hateful Eight" is exactly what it espouses to be in the opening credits: Tarantino’s eighth movie. That means fountains of blood, dismembered body parts, revenge plots and sprawling storylines over three hours of excruciating drama.

"The Hateful Eight" opens with a panoramic vision of snowy mountains with a union army general turned bounty hunter, Major Marquis Warren (Samuel L. Jackson), who is caught in the blizzard and gets picked up by another bounty hunter John Ruth the Hangman (Kurt Russell) and his prisoner Daisy Domergue (Jennifer Jason Leigh). The party is complete when they are joined by Sheriff Chris Mannix (Walton Goggins) and they take shelter from the snow storm at Minnie’s Haberdashery where they meet a stew of four other enigmatic characters.

Most of the action in the story, by which I mean the trademark Tarantino bloodletting and Western style gun slinging but also piercing dialogue and verbal volleying between characters, take place within the confines of this set. What follows is equally cringe-worthy and hilariously spectacular from heads being blown off to the sadistic treatment of misogyny and racism in postbellum Wyoming, underscored by the excessive use of blood and profanities.

While Jackson did a good job as the sadistic, vengeful, and trigger-happy anti-hero of the film, it was Leigh's portrayal of the movie's villainess, that caught my attention and sympathy. It was her character, whose threat to the other characters seems oddly exaggerated seeing as she spent most of the film chained to her captor to be his punching bag, brought up issues about the treatment of misogyny in the film.

Just as "Inglourious Basterds" was set against the backdrop of Nazi Occupied France and "Django Unchained" in the antebellum South, the setting of "the Hateful Eight" in post civil war America serves to bring his own spin to a historical period and bridge present day conversations with the past. One thing for certain is that Tarantino cares naught for political correctness. At the same time, his films root for the underdogs of history and their actions through elaborate revenge plots at the end of which, most people end up splattered on the screen.

All in all, Tarantino's eighth film lives up to its hype but far from being his best work, it's interesting initial vision pans out to be another bloodletting orgy that unmistakably bears the mark of its maker.