When the 70mm roadshow version of Quentin Tarantino’s The Hateful Eight rolled out in December, the experience was sold on the aesthetic superiority – the scope, the clarity, the subconscious effect of flickering frames of film. At a time when Screening Room may soon allow filmgoers to watch the latest wide releases on their couch, the roadshow offered an unreplicable spectacle. But for me the joy of road-tripping to Chicago to catch The Hateful Eight at the Music Box Theatre during its opening week had nothing to do with film gauge size or grain structure. The bliss came from something that is even more […]