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Post by The_Cake_of_Roth on Jul 30, 2019 20:42:33 GMT
My thoughts on the ending: I've been reading some different takes on the ending, and it seems like many of those who responded positively to it appreciate the way the film chooses to memorialize Tate by presenting an alternate version of "what could have been" rather than follow the path of other media that merely define her legacy primarily through her brutal murder. While this might sound like a nice idea, Tarantino just uses it as an excuse to indulge a wish fulfillment fantasy that strips the Manson followers of their menace for the sake of comic book retribution. Tarantino takes the easy way out in avoiding dealing with real pain and tragedy. I'm not saying that he needed to show the murders, but this film cheaply sidesteps history in a way that undercuts the thematic premise he sets up early on. The fading era and the arrival of a new one... this idea crucially needs to be linked to the real world tragedy that Tarantino erases here. The wistfulness that the viewer experiences during the final scene does not arise from the film internally, but the pain is only meta-fictional. We the audience know what really happened, therefore we still feel the loss... but the film doesn't earn its melancholy on its own terms. I'm not looking to change your opinion but just elaborate on why I like it. I'd rather Tarantino go for comic book retribution than another indulgence into true crime fetishism by furthering the legend of the Manson Family. The insatiable intrigue of the public towards this specific event has been appeased in the dozens of books, documentaries, and films well enough imo and that played a big part in my initial fear over this project: that Tarantino was going to take advantage of the tragedy for the sake of on-screen violence and/or turning the Manson clan into prototypical Tarantino villains. Instead, as you put it, he stripped them of their menace rather than further elevate them into iconic villainy. It felt as though Tarantino was saying they don't deserve their legendary status, especially not in lieu of Sharon Tate's memory and such a shifting of priorities away from perpetrators and towards the victims is something vitally needed in a culture where Charlie Manson is a household name. As far as I'm concerned, the film was linked to the real world tragedy anyway, it can't help but be, so why rehash the murders even as an off-screen event? The pain is meta-fictional, but that's not accidental, it's built into the film from the seemingly meandering moments where we follow an exuberant Sharon Tate for no narrative reason all the way to the ending with DiCaprio figuratively ascending through the gates of Hollywood heaven to meet everyone we as an audience know were slain that night.
As I said in my own review, this was not a tact everybody was going to like and I understand the reasons for that, but I personally resist the implication that the only way to deal with this tragedy is to preserve the menace of Manson and his followers. That route has been exercised to the point of social irresponsibility. I think there's a potential middleground though between stripping the Manson clan of their menace in service of cartoonified fantasy, and exploiting the tragedy by elevating them to iconic villainy. I actually liked the way that the film presented Manson himself as this indistinct, random weirdo rather than perpetuate his mythical status in American culture by painting him differently. As I said in my previous post, I wouldn't have necessarily wanted the murders to be explicitly shown, but for the thematic undercurrent of the film to pay off, they absolutely needed to be acknowledged in some way. By having the murders completely erased, and by having Rick Dalton live happily ever after (assuming his new relationship with Tate and Polanski helps to revitalize his career) Tarantino completely torpedoes the potentially poetic (and truthful) thematic trajectory that the film sets up early on and instead settles for superficial fantasy.
It's not so much that I wanted the film to "indulge in true crime fetishism by furthering the legend of the Manson Family" but it's more a matter of serving the film's thematic premise and seeing it to its logical conclusion. For me, the film is linked to real world tragedy only in an indirect way that relies on the audience's prior knowledge rather than doing the actual work to earn its melancholy. So I strongly disagree that the pain is "built-in" to the film, but it's rather brought in from the outside. Frankly, what I wanted from this film is probably much too subtle of an approach for someone like Tarantino. I guess you can maybe criticize me for judging the movie for what it isn't rather than on its own terms, but for a nearly three-hour long movie about a very charged era and historical event, I wanted something more thoughtful.
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Post by Ryan_MYeah on Jul 30, 2019 20:56:22 GMT
I can’t make up my mind on this movie. When I saw it Sunday, I was in the camp of liking the movie. But as time’s gone on, I’ve started picking it apart. I keep reflecting “well, there was such good stuff in this movie.” But then I say “Yeah, but did it balance out the unpolished, and the inconsequential enough?” I don’t hate it, but I keep teetering between it being good, and being mediocre. One thing’s for sure, though. It’s probably the weakest movie Quentin’s directed.
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Post by Billy_Costigan on Jul 30, 2019 23:21:39 GMT
I can’t make up my mind on this movie. When I saw it Sunday, I was in the camp of liking the movie. But as time’s gone on, I’ve started picking it apart. I keep reflecting “well, there was such good stuff in this movie.” But then I say “Yeah, but did it balance out the unpolished, and the inconsequential enough?” I don’t hate it, but I keep teetering between it being good, and being mediocre. One thing’s for sure, though. It’s probably the weakest movie Quentin’s directed. I'm in the opposite camp. I liked it when I first saw it but it's growing on me. I'd put it as QT's 6th best right now. Maybe ahead of Django because I hate the ending. I'll never understand anyone who thinks Death Proof isn't Tarantino's clear worst film.
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Post by Ryan_MYeah on Jul 30, 2019 23:38:42 GMT
I can’t make up my mind on this movie. When I saw it Sunday, I was in the camp of liking the movie. But as time’s gone on, I’ve started picking it apart. I keep reflecting “well, there was such good stuff in this movie.” But then I say “Yeah, but did it balance out the unpolished, and the inconsequential enough?” I don’t hate it, but I keep teetering between it being good, and being mediocre. One thing’s for sure, though. It’s probably the weakest movie Quentin’s directed. I'm in the opposite camp. I liked it when I first saw it but it's growing on me. I'd put it as QT's 6th best right now. Maybe ahead of Django because I hate the ending. I'll never understand anyone who thinks Death Proof isn't Tarantino's clear worst film. If they’re like me, then it’s because they have no desire to watch Death Proof.
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wonky
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Post by wonky on Jul 31, 2019 17:53:34 GMT
My favorite part of this movie was Brad Pitt making mac n cheese. I don’t know why I loved that so much. I needed that in my life.
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Post by therealcomicman117 on Jul 31, 2019 19:34:34 GMT
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Post by pacinoyes on Jul 31, 2019 20:37:18 GMT
~6.5/10 Up until Pitt leaves Spahn ranch I was all in and I was in big time. The scenes to that point totally worked for me - first all the themes up until then were fully connected - Pacino acts as the vessel that communicates Rick's situation to him and to the audience - that's brilliant the kind of incidental stuff (great actor conveying how the acting "business" works) that's all over the place here in ingenious ways. The little girl is the one who understands acting better than Rick and the Qualley character who nails it too (actors just read lines somebody wrote), the Tate character is enraptured with movies like Manson's girls are enraptured of him. The way Cliff can "movie" fight with Bruce Lee who can "really" fight with Cliff - which would really win - well it's illusion vs. life. The movie looks great, it sounds great too - the songs used here are inspired, and for a while it FEELS great. Qualley is clearly the MVP outside of Pitt and DiCaprio both are aces but these are just movie star turns - it's definitely great but not THAT great. Qualley is just a fantastic character where youth/sex/death all collide like real life - the rest of the cast is note perfect for their cameos and extended cameos ala what you'd expect from QT. But the movie sets up a finale it can't (won't) follow through on and huge things get missed Does Rick even know Cliff saw George at all? Maybe I missed it? This film sets up an end of an era, Peckinpah Wild Bunch ending - and it fails to deliver anything close to that and then it collapses on itself. There is only one great moment after Pitt leaves Spahn ranch - the "let's kill the people who taught us to kill" - we learned from them after all is inspired stuff. That would dovetail with themes set up already Hollywood "death" meets real death and the death of Pitt's wife and the threat of death for the little girl in the acted scene.......but its just a huge missed opportunity instead.
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Post by Viced on Jul 31, 2019 22:30:57 GMT
Sorry plebs... I loved it. Comfortably Tarantino's best since Jackie Brown for me.
A great hangout movie, nice stuff about being past your prime in changing times, good film business/actor stuff....
A lot of scenes I was thinking "this is cool, but what's the point?" But as the movie went on, I stopped caring and just got into it. And there's definitely two scenes that stand out -- Spahn's Ranch and obviously the batshit ending (which I was totally into). Pretty much the whole cast is great, but it's clearly the DiCaprio/Pitt show and they both deliver. Pitt tripping on the acid cigarette with that strange laugh is easily one of his finest moments. Pitt's badassery and DiCaprio's slight buffoonery were a match made in heaven.
I've grown off plenty of Tarantinos after loving them the first time around... so in six months I might think this sucks... but for now, I love it. 9/10
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Post by The_Cake_of_Roth on Jul 31, 2019 23:48:28 GMT
The scenes to that point totally worked for me - first all the themes up until then were fully connected - Pacino acts as the vessel that communicates Rick's situation to him and to the audience - that's brilliant the kind of incidental stuff (great actor conveying how the acting "business" works) that's all over the place here in ingenious ways. The little girl is the one who understands acting better than Rick and the Qualley character who nails it too (actors just read lines somebody wrote), the Tate character is enraptured with movies like Manson's girls are enraptured of him. The way Cliff can "movie" fight with Bruce Lee who can "really" fight with Cliff - which would really win - well it's illusion vs. life. While those thematic connections are certainly there, Tarantino's characteristic lack of economy and discipline sort of dilutes their resonance for me. In my initial post a page back, I describe the film's thematic trappings as feeling more ornamental rather than like strong connective tissue that should motivate everything that the film shows us (especially for a nearly three-hour film). Scenes like the one with Bruce Lee are great, but others just go on for too long, killing the pacing, or hamper the film through digressions that Tarantino seems to find more interesting than I do. The scenes with Rick Dalton on the western set, for instance, could have been majorly cut down and still would have gotten the point across more efficiently. I was even getting sort of impatient with the Pacino scene at the beginning because we kept cutting away to these extended sequences from the fake Rick Dalton movies when I just wanted the film to sit still and focus on Pacino. Maybe a couple short clips would have been fine and could have spiced up the scene, but overall it feels too bogged down. It looks like we're pretty much in total agreement on the ending though.
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Feesy
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Post by Feesy on Aug 1, 2019 0:53:10 GMT
Sorry plebs... I loved it. Comfortably Tarantino's best since Jackie Brown for me. A great hangout movie, nice stuff about being past your prime in changing times, good film business/actor stuff.... A lot of scenes I was thinking "this is cool, but what's the point?" But as the movie went on, I stopped caring and just got into it. And there's definitely two scenes that stand out -- Spahn's Ranch and obviously the batshit ending (which I was totally into). Pretty much the whole cast is great, but it's clearly the DiCaprio/Pitt show and they both deliver. Pitt tripping on the acid cigarette with that strange laugh is easily one of his finest moments. Pitt's badassery and DiCaprio's slight buffoonery were a match made in heaven. I've grown off plenty of Tarantinos after loving them the first time around... so in six months I might think this sucks... but for now, I love it. 9/10My man
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Post by Pittsnogle_Goggins on Aug 2, 2019 13:18:47 GMT
Saw this for a 2nd time and it definitely grew on me quite a bit. It helped knowing it’s a ‘day in the life’ story and not very plot driven so I enjoyed just living in that world. Also, why has no one mentioned how awesomely epic and hilarious DiCaprio busting the flame thrower out at the end was?
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Post by Deleted on Aug 2, 2019 16:03:38 GMT
Regardless of how you feel about the film, you can't deny that its huge opening was big win for cinema.
Adults want to see movies, too!
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Post by countjohn on Aug 2, 2019 21:48:54 GMT
Regardless of how you feel about the film, you can't deny that its huge opening was big win for cinema. Adults want to see movies, too! Or at least a movie every now and then that isn't a sequel/reboot or The Rock surviving a natural disaster.
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Post by DeepArcher on Aug 3, 2019 21:25:48 GMT
Finally saw this last night. This may or may not surprise people ... though after three years ago I "grew out of" Tarantino I feel I've sort of reached the point now where I've grown out of being a vehement Tarantino critic because in 2019 that's just as tiresome if not more so ... but, I'm a big fan of this, and I like it the more I think about it. To me, the excessively violent climax sort of clashes with the beautiful fairy-tale atmosphere of the rest of the film in a jarring way. As others have pointed out, what Tarantino does is pay no respect to the Manson family, intent to destroy the ridiculous mythos surrounding them and brutally destroys them and their image in the most literal way possible. It's the kind of bold alternate history that worked wonders in Inglourious Basterds, and I do want to say it works just as well here, because I support what he's going for. That said, it was quite uncomfortable to watch a man (one who probably killed his own wife just because she was a nuisance, no less) brutally, brutally beat up and murder two young women while the crowd in the theater around me cheered him on... again, punishing real-life murderers like this may sound like a great idea on-paper, but it gets so over-the-top that it becomes kind of hard to watch and not in a good way. Though once it gets to the point where Rick pulls out the flamethrower, it feels like I'm supposed to not take it seriously at all and I got more into it. So, maybe it's just that I wasn't prepared for it and I'll find more appreciation of it on a rewatch... but I could also see that going the other way. Regardless of whatever rationalization I try to apply to it, the film's climax still sticks out as the thing that didn't work for me the most. Otherwise, Once Upon a Time ... in Hollywood is honestly ... pretty excellent. There's a lot of fun to be had in watching two of the most famous men in the world act as two of the most unfamous men in Hollywood. Leo and Brad are just as delightful together as expected, and Tarantino smartly keeps the time with the two of them together surprisingly limited so the scenes they do have together land with an even heavier weight. They each get their own time to ... carry their own loads of the story ... and they both shine, complementing each other perfectly. Leo has often been at his best when he's at his funniest, and that's exactly what he is here. The hilariously pathetic, boyish nature of the struggling actor is only matched by the thrill of seeing Rick Dalton himself acting, whether it be a good take or a bad one ... this might just be DiCaprio's second best performance only to Wolf. Pitt achieves similar career heights with a drastically different character, perfectly managing his charming suaveness along with the hilarity of his more comedic moments. Margot Robbie's Sharon Tate acts as an angelic presence that wonderfully hangs over the entire film. The grace that she brings to the film's entire moments, the sort of heavenly bliss that comes with hearing her voice come through over the intercom, is tremendously beautiful. Great performances from Margaret Qualley, Mike Moh, Julia Butters, and legend Pacino, among others, round out a terrific ensemble that truly feels like a daydream of Hollywood's golden days. Of course, as I suspected, the ensemble really is too good to be managed super well, so a lot of those great supporting performances I was left wanting much more of ... while some roles were so brief so as to feel kinda pointless (Damian Lewis' Steve McQueen basically just showing up for an exposition dump was super underwhelming (at least he had one great line), Maya Hawke's character unfortunately felt totally pointless, etc...). It's so epic in scope, and so good for so much of its running time, that it's a film I actually think might benefit from a longer cut. As is, though, there's still a lightning-in-a-bottle greatness to it that's been absent from much of Tarantino's recent work. So much of this film is just driving around in the sun, contemplating on existence, talking to your friends, and just chilling and drinking your troubles away, that there's this elevated sense of poetry to it that's just astounding, focusing on the small, meaningful details of life. Once you start vibing with its atmosphere, it's hard to leave behind. Depending on my time and money situations in the coming weeks, I may actually go see it again. I haven't stopped thinking about it. Easily Tarantino's best since Basterds ... a real pleasure of cinema.
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Post by pacinoyes on Aug 4, 2019 12:35:45 GMT
I had asked this in my review but didn't see anyone comment - if someone can please let me know (in a spoiler - so it's not revealed to those who haven't seen it or IM me, I'd appreciate it. I'd consider that an actual major flaw in the film but I'm thinking it was covered in a passing line of dialog (or more) and I just zoned out. I asked some irl friends and so far.......nada from them on it either. Might be time to put the weed down on movie night...... Does Rick even know Cliff saw George at all - does Rick know about Cliff going to the ranch? Maybe I missed it?
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Post by stephen on Aug 4, 2019 12:47:16 GMT
I had asked this in my review but didn't see anyone comment - if someone can please let me know (in a spoiler - so it's not revealed to those who haven't seen it or IM me, I'd appreciate it. I'd consider that an actual major flaw in the film but I'm thinking it was covered in a passing line of dialog (or more) and I just zoned out. I asked some irl friends and so far.......nada from them on it either. Might be time to put the weed down on movie night...... Does Rick even know Cliff saw George at all - does Rick know about Cliff going to the ranch? Maybe I missed it?
I'm pretty sure he never mentions it to Rick .
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dazed
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Post by dazed on Aug 5, 2019 14:50:07 GMT
I watched it again and liked it even more than the first time. The scenes flowed much better this time around. When I seen it last Thursday, I could feel it as a three hour movie. It felt like a two hour movie the second viewing. Which is impressive as I already knew what was going to happen. The crowd seemed to have loved it, as well as the person I was with which surprised me since they’re not a fan of movies. I’d love to see that four hour cut.
I still feel the time jump was done in a messy way. Still feels a little lazy, but it didn’t bug me nearly as much this time.
Oh yeah, I forgot how sweet the last couple of minutes of the movie are with that miss lily langtry song.
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Post by moonman157 on Aug 8, 2019 6:01:14 GMT
Kinda slaps tbh. I don't have strong feelings about most QT movies but this one is probably top 3 for me. Maybe his most humane movie after Jackie Brown?
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Post by JangoB on Aug 9, 2019 20:52:57 GMT
Motherfuckers, this was amazing! With the climax reaching cathartic goddamn heights.
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Post by Deleted on Aug 10, 2019 6:08:07 GMT
So glad I was wrong in my concerns for the direction QT would take this in. The last half hour or so of this is going to be (somewhat understandably, given who directed it) completely misread by a lot of people, fans and detractors alike. Genuinely moving in a way I didn't think Tarantino was capable of. First impression is that this is pretty easily his best work, his first truly great film.
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Post by JangoB on Aug 10, 2019 12:22:57 GMT
I have so many thoughts about this (all of them ecstatic) so this is my scattered attempt to somewhat intelligibly present some of them: After seeing the movie, I start to believe Tarantino's claims about only making 10 films a little bit more. In a recent press conference in Russia he said that this movie might be the explosive climax of his filmography and that his tenth film would be an epilogue and if that ends up being the case, I completely see where he's coming from. In many ways "OUATIH" feels like a culmunation and a summation of QT's oeuvre, of what makes him tick, of what made him fall in love with movies in the first place. Everybody's familiar with his adoration for filmmakers but it all started with the actors - in numerous interviews he stated that when he was a kid, he knew jackshit about directors or cinematographers. For him the actors were what made movies to enticing and what made him start with learning acting in the first place before turning to writing. This root of what his entire life ended up being is part of what is being explored in this vast kaleidoscope of a movie - actors, their insecurities, their ridiculousness, their greatness, their tenderness and vulnerability, their strange life choices and career paths. Rick Dalton is as wonderfully layered a character as QT ever created and DiCaprio's magnificent performance just reminded me how much I goddamn missed him on this four-year break he took. He has to balance so many things without falling over and turning into a cartoon character and DiCaprio excels at every challenge Tarantino throws his way. To use just one little scene as an example of how great he is: the scene in the beginning after their meeting with Pacino, where he tells Pitt that he's officially a has-been. In that brief interlude DiCaprio has to seem vain, silly, obtuse (in his refusal to go to Italy) and self-pitying but at the same time he also needs to be genuine, moving, sad, un-self-aware. And like a total pro he turns that scene into gold, and then continues doing the same throughout the entire duration of the film. It's easily one of his greatest performances - a magical balancing act that never turns into stupid caricature. The characters are once again for QT beautifully realized, instantly feeling like characters that I've known and loved for years. Dalton desperately tries to hold onto the old ways, despising the newly arrived hippie tribe which in some way represent the future, refusing to adjust to the times. Meanwhile, Cliff Booth is a true man of the minute - he's older that Dalton (I guess born in the 1920s, think about that!), he's a war hero and yet, not being a Hollywood man of big ambition, he seems to just roll with the times. He doesn't carry that 'war hero' badge around him in a way that everybody sees it, he's not a poseur. He just has that inner nobility, true care for those close to him spiritually, to those who are good to him. Whatever happens with Dalton's career, Cliff doesn't feel an ounce of jealousy or brewing hate because he's a true friend, a true brother. And because he seems to roll with any situation that occurs around him. Again, an older guy that Dalton, he nevertheless is fine with hippies, fine with living on the outskirts with his dog (and what a dog!!!), fine with just being there for his buddy. There's of course an ambiguity around him regarding his wife but that is deliberately left open for us to interpret and whether we bring that shade of darkness to him is up to us. But even with that, he's like a noble mythological creature which fits perfectly with the fairy tale aspect of the film. For years I've seen folks commenting on how they would love to see Tarantino make a proper sci-fi or a proper horror movie but I really don't need that when we can have this multi-genre beast of a movie from him. Regarding horror, he obviously made "Death Proof" earlier and "The Hateful Eight" has some of those elements as well. But there're whole stretches here which for me were just filled with dread and quiet terror, even though plenty of laughs were happening in between. Basically everything having to do with the Manson family being on the screen was Tarantino stretching his deeper horror muscles in a way that I found completely terrifying. The ranch scene, for instance, is a perfect example of that, from the eerie sound design which emphasizes the quiet sonic ambiance and diegetic sounds of the TV playing in Dakota Fanning's room to the rhythm of the scene which is like a rubber band being stretched out more and more and more, making the tension almost unbearable. Which brings us to the final stretch of the film which I found truly cathartic in so many ways. First off, the time stamps at the side of the screen made the anxiety of the final segment of the movie really strong since we all knew what the time was leading up to. And then Tarantino collides reality with fiction in a way that I don't think I've ever experienced in a movie before. Some may think that the climax is too repetetive after "Inglourious Basterds" but I think the purpose and the effect are much different. When QT killed Hitler, he gave us a moment of awesome cinematic boldness, a moment which was bewitching at its audacity and pure joy. But I felt that what he did here went beyond that and entered a deeper realm of feeling. Throughout the preceding 140 minutes there is an undeniable feeling of underlying dread because we just know how Sharon Tate's fate played out in real life. When the clock almost literally starts ticking in a lead-up to the inevitable horror, that sense of dread amplifies and reaches incredible heights - the fictional Rick Dalton's and Cliff Booth's futures are uncertain but Sharon is unfortunately doomed to be the victim of one of the most horrendous, vile crimes ever commited. The clock keeps ticking, the inevitable is almost there. And then Tarantino makes a cinematic gesture that, again, makes this movie feel like a culmination of all his works. So much of his oeuvre has been about revenge, about characters having to pay back for the evil they've committed against other characters. Almost every film of his gets labeled as a revenge fantasy, and there's good reason for that. What happens here is the ultimate Tarantino revenge fantasy which interlocks reality and fantasy. QT uses his (and our) beloved art form to avenge Sharon's death in a sequence that felt like pure cinematic catharsis to me. And it's not just because we get to see an alternate version of events with the repulsive Manson idiots getting precisely the treatment they deserved and with Tate being safe and looking into a beautiful future that could have been. It's because the act of violence itself is, besides the cathartic awesomeness of it, turns into an act of purification, of cleansing of the evil that those motherfuckers brought to America during that time. The Manson fuckers weren't just assholes or mere criminals, those parasites were actively evil and the climax of this movie felt like it reached an exorcism-like level of exultation. It wasn't just that our great characters eviscerated the shit out of them, it's that the movie seemed like it truly turned back time and burned the evil out of it. The movie avenged Sharon's death despite Sharon's death not being a part of the movie. And when her voice comes in from the intercom at the end, it's a feeling of awe and of beauty and of ultimate sadness. The sadness of the fact that in reality her voice would never be heard again. And when the gates open in front of Dalton, it's of course a beautiful ending for him - the fairy tale gets to happen, the gates of new Hollywood open up for our great main character and he gets his wish. The camera slowly flies through the treetops. He gets to meet Sharon and her friends, he gets to hug her and talk to her and they all go inside the house together. The beautiful music plays. And then the film ends on a pitch perfect shot of the empty yard in front of the house and the words 'Once Upon a Time...' appear on the screen, both concluding the fiction and once again opening the reality of that fateful night. And if that ain't the most poignant, melancholic, beautiful and haunting moment of Tarantino's entire career, then I don't know what is. There's a lot of other stuff to talk about here: the endless parade of feet, the emphasis on the great minutiae as opposed to conventional story, the way the movie constantly shows us the act of consuming various form of art (characters watching TV all the time, characters watching movies at the cinema, characters listening to the radio in their cars (a lot of the music is source music this time, quite unusual for Tarantino)), the way the movie kind of immortalizes DiCaprio and Pitt in cinematic form by allowing DiCaprio to become a part of "The Great Escape" and Pitt to fight and defeat Bruce Lee. But I tried to talk about what really made me completely fall in love with it. I have no idea whether what I wrote makes any sense and whether it conveys what I felt during the movie and especially during its climax, but I hope that somebody shared those feelings with me. I'll be a happy man if I see a better 2019 movie. Then again, bring on "The Irishman"
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Post by Viced on Aug 10, 2019 14:27:03 GMT
This thread is slowly but surely veering into the right direction...
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Post by Deleted on Aug 11, 2019 3:19:01 GMT
I seriously can't believe how good this was. If you would've told me a year ago I'd be getting choked up at the end of a Tarantino film I would've laughed. This is really the one movie his hard-on for violence actually was perfect for what was being conveyed on more than just a narrative level - the anger towards the sheep-minded clowns who did what they did and took what they took from so many people that comes through in the - as Jango said - staggeringly cathartic climax is real and powerful, and feels deeply resonant today with all the brainwashed pieces of shit carrying out such utterly senseless mass shootings. FUCK
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Post by SeanJoyce on Aug 11, 2019 18:21:50 GMT
Mid-to-bottom-tier Tarantino, which isn't a bad thing...I like all of his stuff. There's been some great discussion in this thread, and I don't feel that there's anything I can add at the moment.
I will say though that something as simple as Pitt and Leo ordering pizza and drinking beer while they stay in to watch tv fills me with so much joy. Love scenes where pals just settle in for the night with a movie or tv...it's one of the (many) things I love about Hot Fuzz.
I've been carrying around this free movie pass for years, I might just use it on a re-watch later on. If Tarantino is truly serious about calling it quits after one more, then these opportunities to see his movies on the big screen are becoming preciously rare.
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AKenjiB
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Post by AKenjiB on Aug 12, 2019 20:30:42 GMT
I know 99% of viewers won’t care about this and that’s fine but Leonardo DiCaprio gave possibly the 2nd best stutter I’ve ever seen in a film. It’s not exaggerated at all, often quite subtle actually, but he sold it believably, particularly the facial contortions. And it wasn’t played for laughs or as the character’s sole trait. So as someone with a stutter that was nice to see. Maybe that makes me biased, I don’t know but I thought it was an excellent performance.
Oh also, Brandy should go down as one of the coolest dogs in film.
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