Every time someone praises his dialogue I feel fundamentally disconnected from the universe. It's the most artificial, try-hard sounding language to my ear, to the point that the emotion I actually feel listening to it is vicarious embarrassment).
I think this is how I feel about the Sunrise movies. The main difference being that I don't think we are ever meant to take Tarantinos dialogue as anything related to the real world. With Linklaters films, that dialogue is very much the key into believing these characters as two people just casually chatting and falling in love and it just rings endlessly hollow to me to the point that I cringe.
Now, as for people who are still claiming his dialogue is his greatest talent, lets just say I think they are sniffing the same glue as Tarantino. I don't think his dialogue has really worked well (at least not with any consistency) in any of his films beyond Reservoir Dogs or Pulp Fiction. When it felt new. When it truly felt like a new way to get characters to talk. It was always artificial and deliberately over written to ensure its maximum hipness, but it felt fresh in the mouths of Travolta or Buscemi or Jackson in thise movies. It was an extension of the cinematic world he had created.
But now, it's like some boho beatnik daddy-o still jiving like Kerouac well into the 1970s and it doesn't sound right anymore. It feels tired and out of place and a lot of its because we know all of his reflexes. His patter has gone on autopilot. It's not nearly as cutting or funny and the references are becoming more and more strained. BUT, from time to time, he still will nail a scene, and his way with language has a way of illuminating the characters and their intentions. For example, nearly all of Waltzs big scenes in Basterds, or Jackson in Django. In the right mouth of the right actor playing the right character, it still can become a kind of gutter poetry.
But those moments are few and far between.
None of this is to say I still don't love his films though. Where his dialogue seems to have stagnated for the last twenty years, his films have continued to evolve along with him. The bloat so many people complain about in his last few films really allows him to play with genre expectations in beautiful ways. To take chances with pacing and character arcs and scoring and editing and camera movement. He's still the most gifted pop movie maker of our generation. And for me still one of the most remarkably consistent directors I can think of.
Hateful Eight (and particular Django) are both great films worthy of this list. And, even though I forgot to vote for it, if Hollywood doesn't make it deep into the top 10, I'll be very disappointed (or, won't care in the slightest, but I feel I should at least pretend to think these stakes remotely matter to me)