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Post by TerryMontana on Aug 31, 2019 22:50:27 GMT
Also kind of off topic but do you guys think when The Irishman comes out it'll generate as much discussion as this bad boy did on here? This has to be one of the longest threads on the forum that's about a single film that's been released (in other words, not a mega-thread being updated with all the new info about something upcoming). I dunno I mean so far stephen hasn't liked that trailer and today he shouted out J esse Plemons which is great and all but is sort of like going to a fancy ice cream parlor and ordering the vanilla in a cup. Um. Kdding, kidding. It's hard to judge how much excitement is there for it - you would think 10 pages on the acting, 10 pages on CGI, 10 pages of "God that was long", 10 pages of "That amazing Scorsese shot........" ..........it certainly has the potential to be a scrolling nightmare thread. You forgot the 10 pages of "I wish I'd seen it in theaters"...
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Post by TerryMontana on Sept 1, 2019 20:45:18 GMT
Maybe I'll watch it again tomorrow. Honestly, I don't think I will like it more or less, and of course I ain't gonna like the ending...
But I want to see as much Tarantino as I can in theaters before he retires and of course try to watch some details (in the performances, the dialogue, the photography etc), which is always fun in a Tarantino film.
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Post by RiverleavesElmius on Sept 4, 2019 1:30:05 GMT
Zeb31 What do you mean by Tarantino presenting Polanski as a Hollywood god who saves the day ? Basically what Stephen said. Earlier in the film, Rick sings Polanski's praises to Cliff, calls him one of the greatest filmmakers of the time and says that getting cast in one of his films could change everything in an instant for him by catapulting him back to the top. The conclusion of the film is therefore presented as a fairytale happy ending for Rick as much as it is for Tate: she gets to live, he gets acquainted with the Polanskis and the suggestion is that his career is boosted. To clarify what I meant with that paragraph, I don't really take issue with this bit as much as I do the way Tarantino repeatedly uses violence against women as a joke (which kinda undermines the purpose of making historical fiction whose whole selling point is to use storytelling as a way to save a real-life brutalized woman). I don't agree with the suggestion that because the events of Once Upon a Time in Hollywood take place before Polanski commits his crime that means that there's nothing at all debatable about the Polanski worship; as has already been discussed in this thread, this film requires that the viewer goes in with some very specific knowledge of Hollywood history in order to fully grasp what Tarantino's trying to convey, and that aspect of Polanski's life absolutely is part of said history, so it's totally fair game to bring that to the conversation when dissecting the film. But that's a separate discussion altogether. A predictably RIDICULOUS take from you. Good lord!! 😤 Polanski hadn't raped anyone when this took place. The fuck does it matter if he's glorified in it or not?? He WAS the goddamn "golden boy" and "hottest director in town back then"!! What he went on to do is 100% IRRELEVANT to treating him like he was seen in '69. Absurd to argue otherwise.
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Post by RiverleavesElmius on Sept 4, 2019 1:38:50 GMT
I'm not looking to change anyone's mind about the film as I've made my thoughts on it pretty clear throughout this thread, but I'd say it's in Tarantino's nature to use violence against everyone as a joke, at least during certain scenes - I know not everyone will agree with this but I don't think the over the top gruesome climax of Hollywood was supposed to be funny (obviously a lot of people thought it was, which speaks more to Tarantino's adolescent-minded audience than the film itself). Adrenalizing and unhinged? Sure. But not funny. Also, I don't think the second part is the point of the movie at all, if anything it's almost the opposite of what I felt was being conveyed. Eh, while I can see where you're coming from in that Tarantino generally is equal-opportunity when it comes to violence, he really leans into it with the two female members of the killer trio. Even though we come into the film with historical context on who they are, the fact of the matter is that the film really, really wallows in Atkins and Krenwinkel's demises. Tex's death is treated as a sight gag more than anything else, but I walked away from the movie thinking more about how the women were savagely dispatched. And for a film whose nascent reason for existing is to prevent a historical brutalization of a group of innocents (including the paragon of virtue that Sharon Tate is portrayed as), to still rely on gruesome violence to cheer and root for comes off as a tad, as you say, adolescent. And if Tarantino was going to go that far with it, why not bring Manson into it? He is the symbol of the death of the '60s/free love movement, and the film made the effort to show him in that brief scene, while building him up as this big force that Cliff will someday face by the amount of times he's mentioned at Spahn Ranch.
You don't have to agree, as it's clear that the film worked for you, but there comes a point when violence becomes less of a well-intentioned joke and more like an Itchy 'n' Scratchy cartoon, and Tarantino has devolved into cartoonish level in his last few films.
Wroooong. The violence in the end was beautifully CATHARTIC, and I loved every minute of it!! You're right, Watson got off a bit too easy, I wanted a close-up of the curb stomp (😈), but that doesn't mean Atkins and Krenwinkle didn't get EXACTLY what they deserved!! And I never got the feeling from the Spahn scene that we were suppose to expect a confrontation with Manson. I think that was just you. I think it was PERFECT he just had one scene cuz FUCK MANSON. They weren't his murders, regardless what an idiotic mass hysteria media created. The perpetrators ALL got their just desserts.
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Post by bob-coppola on Oct 18, 2019 0:01:37 GMT
I wrote this piece on OUATIH for my college's newpaper. I thought it'd be nice to share it here with you guys, as I revisited this thread many times in the past week to organize my thoughts. I translated from portuguese this afternoon, so language might be a tad contrived.
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Post by Viced on Oct 18, 2019 22:41:09 GMT
Saw it again today... still a masterpiece! Really just one great scene after another... and so many special little moments that I missed the first time around -- like Pacino randomly pulling out the chair for Rick to sit down, and the look on DiCaprio’s face while it's happening. And now I think this might actually be DiCaprio's best performance. Well... it's hard to choose a definitive #1, but it's definitely in his top tier.
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Post by quetee on Oct 18, 2019 23:41:15 GMT
Saw it again today... still a masterpiece! Really just one great scene after another... and so many special little moments that I missed the first time around -- like Pacino randomly pulling out the chair for Rick to sit down, and the look on DiCaprio’s face while it's happening. And now I think this might actually be DiCaprio's best performance. Well... it's hard to choose a definitive #1, but it's definitely in his top tier. i love Leo's performance but fear he'll get snubbed.
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Post by JangoB on Oct 18, 2019 23:46:34 GMT
Saw it again today... still a masterpiece! Really just one great scene after another... and so many special little moments that I missed the first time around -- like Pacino randomly pulling out the chair for Rick to sit down, and the look on DiCaprio’s face while it's happening. And now I think this might actually be DiCaprio's best performance. Well... it's hard to choose a definitive #1, but it's definitely in his top tier. i love Leo's performance but fear he'll get snubbed. He won't! The film will obviously be one of the big stories of the upcoming awards season and I simply cannot imagine the acting branch not responding to him in it, both in terms of the character itself and the performance. They'll respond to the comedic moments, they'll laugh at his silly tantrums and most importantly they'll recognize themselves in the career struggle aspect. I feel he's safe. At least I goddamn hope so because it probably is his best performance indeed.
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Post by quetee on Oct 19, 2019 22:43:26 GMT
i love Leo's performance but fear he'll get snubbed. He won't! The film will obviously be one of the big stories of the upcoming awards season and I simply cannot imagine the acting branch not responding to him in it, both in terms of the character itself and the performance. They'll respond to the comedic moments, they'll laugh at his silly tantrums and most importantly they'll recognize themselves in the career struggle aspect. I feel he's safe. At least I goddamn hope so because it probably is his best performance indeed. It's just too crowded and QT has not had that much look getting more than one person nominated as of late. I think Brad is safe but Leo, I'm on the fence.
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Post by brandonsquared on Oct 20, 2019 15:29:30 GMT
I’ve seen it five times now and each time I only love it more and the movie deepens with each viewing. Sometimes a movie that seems amazing on first or second viewing doesn’t hold up again after that but Tarantino built and structured this dazzlingly, with so much substance, texture, subtlety, nuance, restraint and every element clicks for me. It’s sequenced in such a beguiling way that each time I get lost totally in the twist and turns, there’s so much to unpack in the sequencing of sound and image alone (how one scene/shot emotionally/thematically connects to the next or one to follow) and QT has the confidence to “reveal” rather than “tell” the story. Its intelligent storytelling because it gives you so much to delve into but makes you do some of the work, and at a time in mainstream cinema where I’m seeing less of that. It’s a leisurely narrative yet taut with richness of milieu and character, braided by an amazing elasticity of tone. And this is the only time where I’ve totally loved the work of both DiCaprio and Pitt; the former tempering his usual over-intensity in full service of the character’s shifting, conflicted inner life, the latter also channeling his surface persona into something fascinating for once where he isn’t playing a variation of Superstar Brad Pitt, giving a personality performance that subtly is rooted with variations of Cliff’s underplayed perception of the world around him changing. He internalizes what DiCaprio’s Rick externalizes. Both deserve nominations at the least, and I’d even give Leo the win.
It just edges out Jackie Brown as his best film for me (it’s more ambitious conceptually than JB and it succeeds).
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Post by SeanJoyce on Oct 21, 2019 5:59:13 GMT
Tarantino built and structured this dazzlingly, with so much substance, texture, subtlety, nuance, restraint and every element clicks for me. It’s sequenced in such a beguiling way that each time I get lost totally in the twist and turns, there’s so much to unpack in the sequencing of sound and image alone (how one scene/shot emotionally/thematically connects to the next or one to follow) and QT has the confidence to “reveal” rather than “tell” the story. I don't see any of this; I think it's incredibly lazy in its structure and execution. All in all it's a fine film but I feel it's the worst thing he's done...that said, I hope it cleans up at nomination-time (and DiCaprio and Pitt are unquestionably great here.)
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Post by brandonsquared on Oct 21, 2019 7:08:23 GMT
Tarantino built and structured this dazzlingly, with so much substance, texture, subtlety, nuance, restraint and every element clicks for me. It’s sequenced in such a beguiling way that each time I get lost totally in the twist and turns, there’s so much to unpack in the sequencing of sound and image alone (how one scene/shot emotionally/thematically connects to the next or one to follow) and QT has the confidence to “reveal” rather than “tell” the story. I don't see any of this; I think it's incredibly lazy in its structure and execution. All in all it's a fine film but I feel it's the worst thing he's done...that said, I hope it cleans up at nomination-time (and DiCaprio and Pitt are unquestionably great here.) [ I see everything as perfectly precise and measured. If you think this is the worst thing he’s done than I have no idea what else to say to you.
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Post by Deleted on Nov 24, 2019 4:44:43 GMT
Saw this again today, actually liked it even more the second time around now that I knew where Tarantino was going with it all the way through. Still one of my very favorite films of the decade, and still got really choked up at the ending.
I love how Manson himself is used just as much as he needs to be - we know who he is, we don’t need anything else. Excellent way of taking that.
One thing I didn’t catch the first time was the guy on the radio while Cliff was driving after dropping Rick off talking about the weather and saying “no smog - uh, I mean, a lot of smog”, lol.
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Post by HELENA MARIA on Nov 25, 2019 16:24:09 GMT
It really pains me to write this but OUATIH is without a single doubt QT' most mediocre film (and God knows that QT and "mediocre" is usually an oxymoron!). After all the hype around this film I was sorely disappointed. With an A List cast, as it had, it should have been amazing . Brad and Leo were really good as usual . Margot was nice to look at but her character was absolutely useless (no disrespect to the late Sharon Tate). The storyline sadly fell short, way short. The era was captured really well however I sat through the first hour thinking it was painting the scene and that the real action would start.And please don't even get me started on that boring writing and that atrocious editing. By the time the ending happened I didn't care anymore. I wanted to love this movie, but I haven't been this bored in a long long time. I wish I felt differently.
3/10
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Post by ibbi on Nov 25, 2019 17:52:17 GMT
Meaning, they just want to give it an extra Oscar push. pretty much. So ten more means of runtime. 4 new scenes for QT is 10 more minutes?? Surely you mean 80 more minutes???
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Post by The_Cake_of_Roth on Dec 7, 2019 0:57:03 GMT
Owen Gleiberman put the last act on his worst of the year list... while also including the film in his top 10 of the year. linkI totally agree with him on the ending, and yet it makes zero sense to me why he would still include it in his top films of the year list. If I feel like an ending is that bad, the film wouldn't even come near my best of the year list. As pacinoyes often puts it, endings matter....
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Post by pacinoyes on Dec 7, 2019 8:19:23 GMT
Owen Gleiberman put the last act on his worst of the year list... while also including the film in his top 10 of the year. linkI totally agree with him on the ending, and yet it makes zero sense to me why he would still include it in his top films of the year list. If I feel like an ending is that bad, the film wouldn't even come near my best of the year list. As pacinoyes often puts it, endings matter.... This type of thing happens more than you would think too - where the critic feels his/her POV was lost in the landslide of things said about the film so they must continue to review the same film or they just have space to fill and nothing new to say. This kind of repeating his (on-target for me) review in a different way/for a new reason isn't a good move - it ties into peoples distrust of critics and it's actually kind of message board-y behavior by Gleiberman if you think about it really. It's ok for us to do it here but for a professional writer it's small time looking to re-review a film without a change in feeling/perspective.
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Zeb31
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Post by Zeb31 on Dec 7, 2019 16:55:51 GMT
Owen Gleiberman put the last act on his worst of the year list... while also including the film in his top 10 of the year. linkI totally agree with him on the ending, and yet it makes zero sense to me why he would still include it in his top films of the year list. If I feel like an ending is that bad, the film wouldn't even come near my best of the year list. As pacinoyes often puts it, endings matter.... Agreed. I mean, I see where he's coming from, he's not wrong. It's a baffling ending, a terribly misguided and poorly executed swerve that undoes a lot of the brilliant work of the first 2 hours and brings OUATIH down from the excellence that was well within its reach... but it's one film, not two, and if Gleiberman loathes the ending as much as he indicates then I don't see how it makes sense to include it as one of his top 10 favorites.
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Post by RiverleavesElmius on Dec 14, 2019 23:22:37 GMT
Owen Gleiberman put the last act on his worst of the year list... while also including the film in his top 10 of the year. linkI totally agree with him on the ending, and yet it makes zero sense to me why he would still include it in his top films of the year list. If I feel like an ending is that bad, the film wouldn't even come near my best of the year list. As pacinoyes often puts it, endings matter.... Agreed. I mean, I see where he's coming from, he's not wrong. It's a baffling ending, a terribly misguided and poorly executed swerve that undoes a lot of the brilliant work of the first 2 hours and brings OUATIH down from the excellence that was well within its reach... but it's one film, not two, and if Gleiberman loathes the ending as much as he indicates then I don't see how it makes sense to include it as one of his top 10 favorites. It's a beautiful and PERFECT ending, better than ANY other movie this year and VERY fitting for the "fairy tale" alternate Hollywood vision that QT intended the film to be. But, as has already been established, you're just not smart (and neither is Gleiberman or most of this film's critics).
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Zeb31
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Post by Zeb31 on Dec 15, 2019 1:02:39 GMT
My therapist WILL hear about this.
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chris3
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I just ordered a slice of pumpkin pie...
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Post by chris3 on Dec 15, 2019 1:03:48 GMT
I remember when I was thirteen years old, had a subscription to Entertainment Weekly, and became absolutely livid reading Owen Gleiberman's F grade review of O Brother, Where Art Thou? (a film I had just seen in theaters and adored, having recently become a Coen brothers fanatic the year before). From that moment on Owen Gleiberman has been my least favorite critic on the planet. I hadn't thought of him in years (actually not since he wrote that despicable article telling Renee Zellweger to get plastic surgery), clicked on this thread, clicked on the link to his top 10 of 2019 list, and saw that his favorite movie of this wonderful cinematic year is none other than Joker. Good to know he still has the power to piss me off.
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Post by sterlingarcher86 on Dec 19, 2019 4:17:05 GMT
Rewatched this and kind of love it now honestly... I thought it was very uneven before with some amazing scenes but it tied together better as a whole and didn’t drag as much on rewatch.
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Post by dazed on Dec 19, 2019 4:19:01 GMT
Rewatched this and kind of love it now honestly... I thought it was very uneven before with some amazing scenes but it tied together better as a whole and didn’t drag as much on rewatch. Rewatches seem to have a much better reaction than the first viewing for people. I’ve heard and read this quite a few times now.
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Post by urbanpatrician on Dec 19, 2019 23:59:52 GMT
Interesting movie.
On one hand, this reminds me of Blow-Up. Just this depiction of an era that was inherently hip and cool - and with/ inclu. all the people in it. It's a recreation of a piece of time, place, and major event in Hollywood 1969 on the other hand.
It feels like a movie PTA would've made rather than Tarantino, but I guess Tarantino had his own reasons for this film. Interesting ending he chose, but it's a far better ending than Django Unchained and Inglourious Basterds - those endings always left me confused, but I think Inglourious Basterds is still overall the better, or more accomplished film.
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Film Socialism
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Post by Film Socialism on Dec 21, 2019 2:06:06 GMT
kinda boring but kinda not, pretty easily among his worst though. not super passionate one way or the other
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