Margot Robbie
genres Drama
450559 Vote
China
runtime 161Min
rating 8,6 / 10

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I swear he is the best ! I cannot stop watching this scene. The movie title is 9 syllables for Tarantino's 9th movie. Critics Consensus Thrillingly unrestrained yet solidly crafted, Once Upon a Time in Hollywood tempers Tarantino's provocative impulses with the clarity of a mature filmmaker's vision. 85% TOMATOMETER Total Count: 530 70% Audience Score Verified Ratings: 26, 401 Once Upon a Time In Hollywood Ratings & Reviews Explanation Once Upon a Time In Hollywood Videos Photos Movie Info Quentin Tarantino's ninth feature film is a story that takes place in Los Angeles in 1969, at the height of hippy Hollywood. The two lead characters are Rick Dalton (Leonardo DiCaprio), former star of a western TV series, and his longtime stunt double Cliff Booth (Brad Pitt). Both are struggling to make it in a Hollywood they don't recognize anymore. But Rick has a very famous next-door Tate. Rating: R (for language throughout, some strong graphic violence, drug use, and sexual references) Genre: Comedy, Drama Directed By: Written By: In Theaters: Jul 26, 2019 wide On Disc/Streaming: Nov 22, 2019 Runtime: 159 minutes Studio: Columbia Pictures Cast News & Interviews for Once Upon a Time In Hollywood Critic Reviews for Once Upon a Time In Hollywood Audience Reviews for Once Upon a Time In Hollywood Once Upon a Time In Hollywood Quotes Movie & TV guides.

Umm hmm, said Tarantino stopped talking after a freakin eternity! 😄 So much passion man. She had no business being that good & stealing scenes from Leo. That little girl is going to be a STAR. That Hippie's monologue about killing the people who taught us to kill was amazing. Latest News Synopsis More Info distributor: Columbia Pictures Corporation budget: $90 million producer: David Heyman, Shannon McIntosh, Quentin Tarantino production company: Sony Pictures Entertainment (SPE), Heyday Films, Visiona Romantica assistant director: William Paul Clark, Brendan Lee, Katie Pruitt, Christopher T. Sadler, Kt Yunus sfx supervisor: Michael Perdew cinematographer: Robert Richardson runtime: 159 minutes Once Upon A Time in Hollywood is a story that takes place in Los Angeles in 1969, at the height of hippy Hollywood. The two lead characters are Rick Dalton (Leonardo DiCaprio), former star of a western TV series, and his longtime stunt double Cliff Booth (Brad Pitt). Both are struggling to make it in a Hollywood they don’t recognize anymore. But Rick has a very famous next-door neighbor... Sharon Tate. This is the ninth feature film from Oscar-winning director Quentin Tarantino and his first since 2015's The Hateful Eight. Initially, it was reported it would focus on the infamous Charles Manson murders, but that element is more of a background aspect, as Tarantino revealed it is set in 1969 Hollywood and is more of an overview of that era. It marks the first time Tarantino is not working with The Weinstein Company, which he parted ways with following Harvey Weinstein's sexual harassment scandal. Want to know more about Once Upon A Time in Hollywood? Once Upon a Time in Hollywood Trailer Once Upon a Time in Hollywood Official Photos Who's Who In The Once Upon a Time in Hollywood Cast.

If you enjoy reading my Spoiler-Free reviews, please follow my blog. br> Quentin Tarantino is one of the best filmmakers of all-time. He has undeniable talent behind the camera, and his movies are fated to leave a mark in each year they're released. In addition to that, he's also an extraordinary screenwriter, as Once Upon a Time in Hollywood proves once again. His knowledge of the early decades of film is vast, so every feature he produces is always going to be filled with references to those "fairy tale" years. And that's precisely what this movie is: a fairy tale in Hollywood, hence its title. Let me just leave this here right off the bat: I'm not going to address any controversy surrounding this film (namely, the whole Bruce Lee depiction and the Manson Family, in general) as I'm always fair and impartial to the movie I'm reviewing. Moving on. br> My knowledge of the 60s isn't that good. Obviously, I know the whole Sharon Tate story, as well as the famous Manson murders, but when it comes to actual films from that decade, well. Probably, I only know a few by name, a classic scene, or a memorable soundtrack. Tarantino uses his large runtime to place tons of references to that period, and that's one of the reasons the first act of the movie drags. There's a lot of time spent with characters just driving cars while listening to music (references in the songs) wide shots of the city as they drive by (references in the buildings) or even just playing an LP and dancing to it (reference in the songs, again.
I understand that these mean something, but if they don't develop the character in any way, then these are just Easter Eggs and have no impact on the actual narrative. The first hour or so is filled with sequences which sole purpose is to show how much Tarantino knows about that time, and there's nothing wrong with it, as long as it tells a story. That's the second issue I have with the first act: it takes too long to establish its characters, and there's no apparent objective within the story. It feels like a person just strolling around with no destination, which in itself isn't a bad thing. But if you put together repetitive sequences plus a story that no one knows where it's going or how it connects to the only thing people are actually expecting (the Sharon Tate event) then you'll bore the hell out of the audience (a lot of people constantly left my theater to get more food or something, and they weren't in a hurry.
Nevertheless, from the moment we start understanding who Rick Dalton and Cliff Booth are, what they do, what they did, and what they want with their lives, then the film becomes incredibly captivating. It's definitely a character-driven story. It's a fairy tale where Rick tries his best to overcome his own personal issues to be the very best movie star, after being on an exponentially negative path. Cliff, as his stunt double, lives off of his buddy by doing everything he needs around the house and everywhere else. These two are inseparable, and their scenes are always filled with laughter and joy, even in the darkest moments. OUATIH works because of its beautifully-written characters.
If you don't care about them, then you won't enjoy the film at all. In addition to this, if you don't know anything regarding the art of filmmaking, then you'll probably hate it since it will become extremely dull. It's one of those movies that anyone can like. However, for someone who knows and understands how films are made, it will always be a better time at the theater. You can love this movie, sure. But if you love filmmaking and you have knowledge of its techniques, you'll love it even more. There are so many technical achievements worthy of appreciation that I can't get to all of them, so I'll just address two of my favorites. The first has to be the black-and-white flicks inside the actual film. Putting Leonardo DiCaprio acting on classic westerns with over-the-top performances is an absolute delight. Watching those features in a 4:3 black-and-white screen, filled with classic sound effects, and cheesy one-liners. Wonderful.
The second allows for my favorite scenes of the whole movie: the extensive one-take dialogues. I mean, 10 or 15-minute sequences where DiCaprio just gives it his all. This is how every single film should be done. There's even a joke in the movie where Rick criticizes a particular type of filmmaking because they would film every character separately saying their lines and then editing them together. Unfortunately, that's how most features are done today. Therefore, from watching a simple dialogue scene with DiCaprio and Julia Butters (a 10-year-old little girl! to a bar sequence which belongs to a movie Rick is filming (this one even has Rick asking his lines, and the camera has to go back to its starting point) everything with no cuts whatsoever. What can I ask more from a director?
Obviously, if this is a character-driven narrative, the cast has to be genuinely compelling. Leonardo DiCaprio, Brad Pitt, Margot Robbie. I mean, do I even need to explain how phenomenal they are? DiCaprio proves once again he's one of the greatest actors of all-time. The ability that he has to put 200% in every single scene is unbelievable. I even started to tear up once his character is able to find his footing, solely due to the actor's performance. The Oscar nom is guaranteed, let's see about the win. Brad Pitt also has tons of nominations on his lap with an astonishing supporting display. He has a subtle performance, but it's pretty incredible how much he can transmit to the audience by putting (apparently) so little effort. Margot Robbie doesn't have that much screentime, but her character had the simple objective of showing how glamorous and dreamy an actress' life could be at that time, so she didn't exactly need to deliver her A-game.
It's always good to see Al Pacino (Marvin Schwarz) on-screen, and I'm thrilled that Margaret Qualley (Pussycat) who I know from The Leftovers (one of the most underrated TV shows of the century) is finally getting some recognition. Technically, like I said above, it's close to a masterpiece. It's Tarantino, everyone knows what he's capable of, but having in mind his most recent features, it's a pleasant surprise and evidence of quality to the naysayers that he was able to produce a film with less bloody action. There are terrific demonstrations of great cinematography (Robert Richardson) and the editing is always impeccable in Tarantino's features (this time due to Fred Raskin. The score is addictive, and it carries a very significant role in the movie. I would say that if Tarantino was able to shorten its runtime and control its pacing better, this would be a technically perfect film.
All in all, Once Upon a Time in Hollywood isn't the best Quentin Tarantino's movie, but it's undoubtedly one of the year's best. Filled with award-winning lead performances (second Oscar for DiCaprio, please) this character-driven story is packed with references to the 60s which will be the divisive point in whether people will enjoy the film or not. Its first act is slow and takes too long to set up its story, but from the moment it's able to find its footing, it's an entertaining ride. If you love filmmaking and you know the insides of the art, Tarantino delivers a near-perfect technical production. Its alternate ending to real-life events is meant to be controversial, but for me, it's a vision of how everything should have happened if the world was fair or, indeed, a fairy tale. in Hollywood.

Hey who doesnt love yelling at beatnik hippies. Once Upon a Time... in Hollywood A faded television actor and his stunt double strive to achieve fame and success in the film industry during the final years of Hollywood's Golden Age in 1969 Los Angeles. Genre: Comedy, Drama Actor: Al Pacino, Brad Pitt, Dakota Fanning, Kurt Russell, Leonardo DiCaprio, Luke Perry, Margaret Qualley, Margot Robbie, Timothy Olyphant Director: Quentin Tarantino Country: China, UK, USA Duration: 161 min Quality: HD 720p Release: 2019 IMDb: 9. 3.

I want Tarantino to make podcast, and literally listen for hours. One of the first few interviews where ive genuinely enjoyed the interviewer. Class act. DiCapiro and Pitt just wanna devour Margot right there. Tarantino is a socially awkward genius. The fate of Booth's wife is left open to speculation in the film. One of the most intriguing and mysterious characters in director Quentin Tarantino ’s “ Once Upon a Time in Hollywood ” has to be fictional stuntman Cliff Booth, who is played by Brad Pitt. While said to be stylistically inspired by actor Tom Laughlin in the “Billy Jack” movie franchise, Booth is an invention of Tarantino and Pitt, and is depicted as the loyal and deadly friend of fading television series star Rick Dalton (Leonardo DiCaprio). Accused by multiple people of being a murderer, Booth is somewhat of an outcast in the universe of stuntmen, and is believed to have gotten away with killing his wife, Billie Booth (Rebecca Gayheart). However, the film is ambiguous on that front and leaves Booth’s alleged dark past to speculation. What Tarantino does allow the audience to see is a flashback scene that takes place on a boat, during which Billie scolds Cliff, as he sits holding a beer with a harpoon gun laying across his lap, pointed at his wife. So what happened next? Did Cliff kill Billie, whether intentionally or accidentally, in a moment reminiscent of Vincent Vega’s lack of trigger discipline in “Pulp Fiction”? The film unfortunately doesn’t say, which is obviously deliberate on Tarantino’s part, much to the chagrin of audiences. The movie sets audiences up to infer that Booth did kill his wife, but his actions throughout suggest he never would. And the scene simply serves to give just as much information as the rumor suggests, and lets viewers reach their own conclusions. But one person who might be able to answer the question is Pitt. In a recent interview with the Los Angeles Times, the actor shared that he knows the entire story of what happened on that mysterious day on the boat, but he will “never tell, ” he said. His reasons? He prefers the ambiguity, especially given how the film ends, with the violently heroic acts of his character. “So why spoil that? ” he said. Of course there’s always the chance that the truth will be revealed eventually, and quite possibly by Tarantino himself. Although likely not any time soon. It’s worth noting that the circumstances of Billie Booth’s death certainly mirror the unsolved tragic end of Hollywood star Natalie Wood who drowned after a boating trip with her husband Robert Wagner, with whom she reportedly had a tumultuous relationship. Alcohol, motion sickness pills, and painkillers were found in her system, but the events surrounding her death were eventually ruled inconclusive, leaving conspiracy theorists to speculate. In 2018, Wagner was named a person of interest in the ongoing investigation into her death. The ninth film from Tarantino is currently in theaters. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.

This is a photo from the first act of Once Upon a Time in Hollywood that has been deliberately chosen to be as non-spoilery as possible. Photo: Andrew Cooper/Sony Pictures Warning: As the headline “Let’s Talk About the Ending of Once Upon a Time in Hollywood” suggests, this article will address the conclusion of Quentin Tarantino’s latest film and thus contains spoilers. If you’ve read the reviews of Quentin Tarantino’s Once Upon a Time in Hollywood, you’ve probably gathered that something is up with the ending. Though critics, urged on by Tarantino himself, have been wary of giving too much away, many of them can’t help but mention that the movie’s final act includes a controversial creative choice that audiences will be talking about all the way home. This is a safe space for us to talk about exactly that choice … starting in the next paragraph! Okay, so. If you’ve been reading between the lines of the reviews, you’ve likely gathered that the film changes some aspects of the Manson Family murders of August 1969. Throughout the movie, Tarantino contrasts Leonardo DiCaprio’s Rick Dalton, a washed-up middle-aged actor reduced to playing the villain of the week on TV procedurals, with Margot Robbie’s Sharon Tate, whose youth and growing stardom represents the feeling of infinite possibility that characterized the late ’60s. To underline their contrasting trajectories, Dalton happens to live next door to the now-infamous Cielo Drive compound where Tate is living with Roman Polanski. There are two likely inferences: Either Dalton and his stuntman Cliff Booth (Brad Pitt) foil the murders, thus preserving in amber the film’s lovingly created period fantasy, or they get killed instead, ensuring the future belongs to the younger generation. As it turns out, the movie goes with the former. While making a pitcher of frozen margaritas, Rick stumbles upon Manson’s followers casing the street (their car has a busted muffler), and confronts them about disturbing his leisurely evening. They recognize Dalton from his old Western series Bounty Law, and following an extremely Tarantinoese conversation about 1960s TV shows, decide to murder him instead, for the sin of poisoning their generation with violent imagery. As Susan Atkins (Mikey Madison of Better Things) puts it, “My idea is to kill the people who taught us to kill! ” Speaking of violent imagery, as the Manson followers break into Dalton’s house, they’re surprised to find Cliff, who’s gotten high off an LSD-soaked cigarette and can’t quite believe the intruders are real. With the help of his trusty pit bull, a can of dog food, and Dalton’s new Italian wife, Cliff fights them off, eventually killing Tex Watson ( Austin Butler) and Patricia Krenwinkel (Madisen Beaty) in an orgy of violence that recalls the blood-soaked climaxes of Bonnie and Clyde and The Wild Bunch: Watson’s groin is mauled by the pit bull before Cliff curb-stomps him on the threshold; Krenwinkel gets her face smashed in on a rotary telephone. Atkins, on the other hand, receives a poolside coup de grâce from Dalton and his flamethrower. (Long story. ) The cops are called to pick up the bodies, and after the commotion is over, Dalton receives what he’s been dreaming of the entire film: a social invite to hang out with Sharon Tate and Jay Sebring (Emile Hirsch) next door. Could his star be on the rise once more? Just like how Adolf Hitler wasn’t really assassinated in a Parisian movie theater, this is obviously not how things on Cielo Drive actually played out the night of August 9, 1969, when Manson’s family members murdered Tate, Sebring, and three others, plus Tate’s unborn child. Tarantino seems to be going out of his way to strip the murders of their awful power. The followers are portrayed as buffoons, and their deaths are cartoonishly over-the-top; my opening-night audience was laughing throughout the whole scene. When Cliff can’t recall Watson’s name, the young man taunts him with a boast the real Watson gave his victims, “I’m the devil, and I’m here to do the devil’s business. ” Cliff’s response: “Naw, it was dumber that that. ” (Another small change Once Upon a Time makes to the story: Maya Hawke’s Linda Kasabian is so freaked out that she takes off before the whole thing starts. In reality, Kasabian was tasked with keeping lookout while the other cult members committed the murders, and would later become a key prosecution witness in their eventual trial. ) If you’re curious about what the actual neighbors did the night of the murders, according to Helter Skelter, the nearest house on the street was “almost a hundred yards” away from the gate of Tate’s residence, much farther away than in Once Upon a Time. That house belonged to a married couple, the Kotts, who also had friends over that night, though unlike Dalton the pair did not accidentally run into the Manson acolytes, and unlike Booth, they did not kill them. Mrs. Kott later said she heard what sounded like a woman’s scream, then went to bed. Don’t blame her too much for not intervening, though: The book also notes that “the canyons above Hollywood and Beverly Hills play tricks with sounds. ” Besides creating a butterfly effect that would alter the fortunes of the victims, Roman Polanski, and possibly even Gerald Ford, Tarantino’s alternate-reality ending seems to be most critics’s least-favorite part of Once Upon a Time. IndieWire’s Eric Kohn calls it “rushed, counterproductive, and ultimately beside the point. ” For Vox’s Alissa Wilkinson, it’s proof Tarantino “can’t stop himself from dipping into old habits but doesn’t really know why. ” Vulture’s own Bilge Ebiri says it “feels like the wrong ending for this movie, a somewhat ill-conceived attempt to reconcile Old Hollywood with the New. ” Still, while I don’t disagree with Owen Gleiberman ’s assessment that the finale turns a crime that attained almost mythological significance for much of the nation into straight-up “pulp, ” it’s also hard not to chuckle at Tarantino’s attempted historical transmogrification. Joan Didion once wrote that, for many in Hollywood, the Tate murders were the end of the ’60s. There are other common marking points for the end of the dream of the ‘60s — the Altamont Speedway concert, even the murder of John Lennon in 1980 — and the unifying factor of them all is violence. Here, though, Tarantino is using the cinematic gore he loves so much as a method of historical preservation. As my colleague David Edelstein put it in his review of Inglourious Basterds, the director “is nutty enough to believe myth can trump history. ” If Tate and her friends were never killed, this world he’s conjured up — this long-lost Hollywood of Dean Martin movies, TV Westerns, faded stardom, and garishly inauthentic Mexican restaurants — might never die, either. In a film that’s constantly haunted by the ghosts of real-life events, there’s also special meaning in having Cliff Booth be the one to save the day. The character has notes of a few actual stuntmen who were drifting around Hollywood at the time, most notably Hal Needham, but there are also echoes of Donald “Shorty” Shea, a stuntman who struck up a bond with George Spahn and aroused the suspicion of Manson and his followers. Shea’s story ended less happily than Cliff’s. Convinced he’d ratted the family out to the cops, Manson had Shea murdered by a gang that included Clem Grogan, the Family member Cliff beats up during his visit to the ranch. In a sense, in the film’s bloody finale, the stuntman is exacting a measure of cinematic revenge on behalf of his profession. For Tarantino, patron saint of underappreciated Hollywood jobbers, it’s something like poetic justice. Let’s Talk About the Ending of Once Upon a Time in Hollywood.

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