ワンス・アポン・ア・タイム・イン・ハリウッド


ワンス・アポン・ア・タイム・イン・ハリウッド

概要:

リック・ダルトンはピークを過ぎたTV俳優。映画スターへの道がなかなか拓けず焦る日々が続いていた。そんなリックを支えるクリフ・ブースは彼に雇われた付き人でスタントマン、そして親友でもある。目まぐるしく変化するエンタテインメント業界で生き抜くことに精神をすり減らし情緒不安定なリックとは対照的に、いつも自分らしさを失わないクリフ。この二人の関係は、ビジネスでもプライベートでもまさにパーフェクト。しかし、時代は徐々に彼らを必要とはしなくなっていた。そんなある日、リックの隣に時代の寵児ロマン・ポランスキー監督と女優のシャロン・テート夫妻が越してくる。落ちぶれつつある二人とは対照的な輝きを放つ二人。この明暗こそハリウッド。リックは再び俳優としての光明を求め、イタリアでマカロニ・ウエスタン映画に出演する決意をするがー。そして、1969年8月9日ーそれぞれの人生を巻き込み映画史を塗り替える【事件】は起こる。

5466 (7.5/10)

ランタイム: 162 分

発売日 2019-07-25

予算: $95,000,000.00

売り上げ高: $374,251,247.00

ウェブサイト: Link

制作会社:

  • Heyday Films
  • Columbia Pictures
  • Bona Film Group

生産の国:

  • China
  • United Kingdom
  • United States of America

ジャンル:

  • コメディ
  • ドラマ
  • スリラー

トレーラー

さらに詳しい情報

Rick Dalton
Leonardo DiCaprio
Leonardo DiCaprio
Cliff Booth
Brad Pitt
Brad Pitt
Sharon Tate
Margot Robbie
Margot Robbie
Jay Sebring
Emile Hirsch
Emile Hirsch
'Pussycat'
Margaret Qualley
Margaret Qualley
Jim Stacy
Timothy Olyphant
Timothy Olyphant
Trudi Fraser
Julia Butters
Julia Butters
'Tex'
Austin Butler
Austin Butler
'Squeaky'
Dakota Fanning
Dakota Fanning
George Spahn
Bruce Dern
Bruce Dern
Bruce Lee
Mike Moh
Mike Moh
Wayne Maunder
Luke Perry
Luke Perry
Steve McQueen
Damian Lewis
Damian Lewis
Marvin Schwarz
Al Pacino
Al Pacino
Sam Wanamaker
Nicholas Hammond
Nicholas Hammond
Abigail Folger
Samantha Robinson
Samantha Robinson
Roman Polanski
Rafał Zawierucha
Rafał Zawierucha
Francesca Capucci
Lorenza Izzo
Lorenza Izzo
Voytek Frykowski
Costa Ronin
Costa Ronin
Charlie
Damon Herriman
Damon Herriman
'Gypsy'
Lena Dunham
Lena Dunham
'Katie'
Madisen Beaty
Madisen Beaty
'Sadie'
Mikey Madison
Mikey Madison
'Clem'
James Landry Hébert
James Landry Hébert
'Flowerchild'
Maya Hawke
Maya Hawke
'Lulu'
Victoria Pedretti
Victoria Pedretti
'Snake'
Sydney Sweeney
Sydney Sweeney
'Froggie'
Harley Quinn Smith
Harley Quinn Smith
'Deliah'
Dallas Jay Hunter
Dallas Jay Hunter
'Blue'
Kansas Bowling
Kansas Bowling
'Tadpole'
Parker Love Bowling
Parker Love Bowling
'Sundance'
Cassidy Vick Hice
Cassidy Vick Hice
'Butterfly'
Ruby Rose Skotchdopole
Ruby Rose Skotchdopole
'Angel'
Danielle Harris
Danielle Harris
'Happy Cappy'
Josephine Valentina Clark
Josephine Valentina Clark
'Lancer' - 'Business Bob' Gilbert
Scoot McNairy
Scoot McNairy
'Lancer' - Ernesto the Mexican Vaquero
Clifton Collins Jr.
Clifton Collins Jr.
'Lancer' - Bartender Pepe
Marco Rodríguez
Marco Rodríguez
Movie Theater Manager
Ramón Franco
Ramón Franco
'Lancer' - 'Bad Guy' Delgado
Raúl Cardona
Raúl Cardona
Rebekka
Courtney Hoffman
Courtney Hoffman
Connie Stevens
Dreama Walker
Dreama Walker
Mama Cass
Rachel Redleaf
Rachel Redleaf
Michelle Phillips
Rebecca Rittenhouse
Rebecca Rittenhouse
Joanna Pettet
Rumer Willis
Rumer Willis
Allen Kincade
Spencer Garrett
Spencer Garrett
Book Store Man
Clu Gulager
Clu Gulager
'Bounty Law' - Sheriff
Martin Kove
Martin Kove
Billie Booth
Rebecca Gayheart
Rebecca Gayheart
Randy / Narrator
Kurt Russell
Kurt Russell
Janet
Zoë Bell
Zoë Bell
'Bounty Law' - Sheriff Hackett
Michael Madsen
Michael Madsen
(Cut)
Tim Roth
Tim Roth
Hippie Selling Acid Cigarettes
Perla Haney-Jardine
Perla Haney-Jardine
'Bounty Law' - 'Ugly Owl'
James Remar
James Remar
Connie
Monica Staggs
Monica Staggs
Land Pirate Craig
Craig Stark
Craig Stark
Land Pirate Keith
Keith Jefferson
Keith Jefferson
Donnie
Omar Doom
Omar Doom
Bruin Box Office Girl
Kate Berlant
Kate Berlant
Musso & Frank Hostess (Gina)
Victoria Truscott
Victoria Truscott
'Lancer' - Script Girl
Allison Yaple
Allison Yaple
Back Lot Crew Member
Bruce Del Castillo
Bruce Del Castillo
Mary Alice Schwarz
Brenda Vaccaro
Brenda Vaccaro
Land Pirate Lew
Lew Temple
Lew Temple
Daphna Ben-Cobo
Daniella Pick
Daniella Pick
'Straight Satan' David
David Steen
David Steen
Curt
Mark Warrack
Mark Warrack
Maralu the Fiddle Player
Gabriela Flores
Gabriela Flores
Make-Up Artist Sonya
Heba Thorisdottir
Heba Thorisdottir
Young Girl Hippy Hitchhiker
Breanna Wing
Breanna Wing
Musso & Frank Bartender
Kenneth Sonny Donato
Kenneth Sonny Donato
Musso & Frank Waiter
Sergio Gonzalez
Sergio Gonzalez
Nazi Soldier / McCluskey Burn Nazi #1
Casey O'Neill
Casey O'Neill
Policeman
Michael Graham
Michael Graham
Paramedic
Emile Williams
Emile Williams
Land Pirate Vincent
Vincent Laresca
Vincent Laresca
Land Pirate J
JLouis Mills
JLouis Mills
Land Pirate Gil
Gilbert Saldivar
Gilbert Saldivar
Land Pirate Maurice
Maurice Compte
Maurice Compte
Land Pirate Eddie
Eddie Perez
Eddie Perez
'Lancer' - Camera Operator Hugh
Hugh McCallum
Hugh McCallum
Hermann the Nazi Youth
Zander Grable
Zander Grable
Cicada Maitre'd
Ed Regine
Ed Regine
Officer Mike
Michael Bissett
Michael Bissett
Dashihi Donnell
Lenny Langley Jr.
Lenny Langley Jr.
Gillian
Gillian M. Berrow
Gillian M. Berrow
Cop #1
Chad Ridgely
Chad Ridgely
Cop #2
Chic Daniel
Chic Daniel
'Bounty Law' - Promo Announcer (voice)
Corey Burton
Corey Burton
Dancer #1
Michaela Sprague
Michaela Sprague
Dancer #2
Ryan Ramirez
Ryan Ramirez
Dancer #3
Kayla Jenee Radomski
Kayla Jenee Radomski
Dancer #4
Kerry Westcott
Kerry Westcott
Playboy Bunny (uncredited)
Christina Sergoyan
Christina Sergoyan
Screenplay
Quentin Tarantino
Quentin Tarantino
Director
Quentin Tarantino
Quentin Tarantino
Producer
Quentin Tarantino
Quentin Tarantino
Thanks
Tim Roth
Tim Roth
Director of Photography
Robert Richardson
Robert Richardson
Sound Effects Designer
Harry Cohen
Harry Cohen
Stunt Coordinator
Zoë Bell
Zoë Bell
Casting
Victoria Thomas
Victoria Thomas
Art Direction
John Dexter
John Dexter
Set Decoration
Nancy Haigh
Nancy Haigh
Executive Producer
Georgia Kacandes
Georgia Kacandes
Unit Production Manager
Georgia Kacandes
Georgia Kacandes
Production Design
Barbara Ling
Barbara Ling
Supervising Art Director
Richard L. Johnson
Richard L. Johnson
Choreographer
Toni Basil
Toni Basil
Stunts
Jim Palmer
Jim Palmer
Producer
David Heyman
David Heyman
Dialect Coach
Tim Monich
Tim Monich
Thanks
James Marsden
James Marsden
Visual Effects Designer
John Dykstra
John Dykstra
Thanks
Adam West
Adam West
Thanks
Burt Ward
Burt Ward
Costume Designer
Arianne Phillips
Arianne Phillips
Thanks
Sergio Corbucci
Sergio Corbucci
Editor
Fred Raskin
Fred Raskin
Script Supervisor
Martin Kitrosser
Martin Kitrosser
Makeup Effects Designer
Gregory Nicotero
Gregory Nicotero
Set Buyer
Kathy Lucas
Kathy Lucas
Executive Producer
Yu Dong
Yu Dong
Stunts
Keith Jardine
Keith Jardine
Set Designer
Paul Sonski
Paul Sonski
Stunts
Jeremy Fitzgerald
Jeremy Fitzgerald
Location Manager
Richard Schuler
Richard Schuler
Stunts
Peter Epstein
Peter Epstein
Stunts
Toby Holguin
Toby Holguin
Stunts
Marcus Young
Marcus Young
Makeup Department Head
Greg Funk
Greg Funk
Gaffer
Ian Kincaid
Ian Kincaid
Stunts
Tara Macken
Tara Macken
Executive Producer
Jeffrey Chan
Jeffrey Chan
First Assistant Editor
William Fletcher
William Fletcher
Thanks
Debra Tate
Debra Tate
Producer
Shannon McIntosh
Shannon McIntosh
Art Direction
Eric Sundahl
Eric Sundahl
Thanks
Nichole Galicia
Nichole Galicia
Set Designer
Sarah Contant
Sarah Contant
Foley Supervisor
Gary A. Hecker
Gary A. Hecker
Stunts
Samuel Le
Samuel Le
Rigging Grip
Andrés Murillo
Andrés Murillo
Art Direction
Tristan Paris Bourne
Tristan Paris Bourne
Key Costumer
Betsy Glick
Betsy Glick
Makeup Artist
Jean Ann Black
Jean Ann Black
Costume Supervisor
Lynda Foote
Lynda Foote
Sound Effects Designer
Sylvain Lasseur
Sylvain Lasseur
Set Designer
Sam Page
Sam Page
Set Designer
Anne Porter
Anne Porter
Boom Operator
Tom Hartig
Tom Hartig
Utility Sound
Patrushkha Mierzwa
Patrushkha Mierzwa
Unit Production Manager
Nathan Kelly
Nathan Kelly
Supervising Sound Editor
Wylie Stateman
Wylie Stateman
Art Department Coordinator
Susannah Carradine
Susannah Carradine
Set Costumer
Corey Bronson
Corey Bronson
Sound Re-Recording Mixer
Christian P. Minkler
Christian P. Minkler
Foley Artist
Rick Owens
Rick Owens
Assistant Set Decoration
Sara Philpott
Sara Philpott
Still Photographer
Andrew Cooper
Andrew Cooper
Makeup Department Head
Heba Thorisdottir
Heba Thorisdottir
Underwater Camera
Pete Romano
Pete Romano
Sound Re-Recording Mixer
Michael Minkler
Michael Minkler
Digital Intermediate Editor
Lisa Tutunjian
Lisa Tutunjian
Post Production Producer
Tina Anderson
Tina Anderson
Assistant Property Master
Angel Acosta
Angel Acosta
Set Designer
Shari Ratliff
Shari Ratliff
Steadicam Operator
Henry Tirl
Henry Tirl
Stand In
Rob O'Malley
Rob O'Malley
Rigging Gaffer
John R. Manocchia
John R. Manocchia
Unit Publicist
Will Casey
Will Casey
Hair Department Head
Janine Rath
Janine Rath
Makeup Artist
Sian Grigg
Sian Grigg
Assistant Editor
Andrew Blustain
Andrew Blustain
Foley Mixer
Kyle Rochlin
Kyle Rochlin
Hairstylist
Anna Quinn
Anna Quinn
Set Dresser
Michael Thurman
Michael Thurman
Leadman
Mark Weissenfluh
Mark Weissenfluh
Costumer
Leigh Bell
Leigh Bell
Set Costumer
Kelly Porter
Kelly Porter
Stunts
Dana Reed
Dana Reed
Modeling
Jeff Frost
Jeff Frost
Stunts
Eric R Salas
Eric R Salas
Driver
Bruce Del Castillo
Bruce Del Castillo
First Assistant Editor
Chris Tonick
Chris Tonick
Thanks
Anthony DiMaria
Anthony DiMaria
Actor's Assistant
Charlotte Nichol
Charlotte Nichol
Set Decorating Coordinator
Jessica Ripka
Jessica Ripka
Special Effects Supervisor
Jeremy Hays
Jeremy Hays
Hair Department Head
Michelle Diamantides
Michelle Diamantides
Music Supervisor
Mary Ramos
Mary Ramos
Production Sound Mixer
Mark Ulano
Mark Ulano
First Assistant Camera
Gregor Tavenner
Gregor Tavenner
Property Master
Chris Call
Chris Call
Assistant Costume Designer
Corey Deist
Corey Deist
Production Coordinator
Michyl-Shannon Quilty
Michyl-Shannon Quilty
Electrician
Joel A. Ruiz
Joel A. Ruiz
Stunts
Lisa Hoyle
Lisa Hoyle
Assistant Property Master
Cindy Mah
Cindy Mah
Associate Producer
William Paul Clark
William Paul Clark
First Assistant Director
William Paul Clark
William Paul Clark
Special Effects Technician
Marc Tantin
Marc Tantin
Graphic Designer
Vanessa Riegel
Vanessa Riegel
Casting Associate
Jennifer Yoo
Jennifer Yoo
Key Grip
Chris Centrella
Chris Centrella
Stunts
Mark Aaron Wagner
Mark Aaron Wagner
Graphic Designer
Tina Charad
Tina Charad
Stunts
Allan Padelford
Allan Padelford
Set Designer
Bryan Lane
Bryan Lane
Best Boy Grip
Krystina Figg
Krystina Figg
Stand In
Jared Gibson
Jared Gibson
Stunts
Norman Mora
Norman Mora
Stunts
Dario Perez
Dario Perez
Makeup Artist
Seana Gorlick
Seana Gorlick
Stunts
Braxton McAllister
Braxton McAllister
Special Effects Technician
Marc Banich
Marc Banich
Special Effects Makeup Artist
Stephen Bettles
Stephen Bettles
Production Assistant
Lauren Baker
Lauren Baker
Loader
Rio Noel Zumwalt
Rio Noel Zumwalt
Electrician
Vince Manocchia
Vince Manocchia
Set Dresser
Fante Zamora
Fante Zamora
Grip
Rusty Davis
Rusty Davis
Grip
Hugh McCallum
Hugh McCallum
Production Supervisor
Jason Zorigian
Jason Zorigian
Stunts
Michaela McAllister
Michaela McAllister
Stunts
Dalton Rondell
Dalton Rondell
Set Dresser
Jon Nicholson
Jon Nicholson
Second Assistant Director
Christopher T. Sadler
Christopher T. Sadler
On Set Dresser
Darren Patnode
Darren Patnode
Set Dresser
Nashon Petrushkin
Nashon Petrushkin
Second Second Assistant Director
Brendan Lee
Brendan Lee
Grip
Mike Byrd
Mike Byrd
Extras Casting Coordinator
Maryellen Aviano
Maryellen Aviano
Assistant Editor
Brit DeLillo
Brit DeLillo
Stunts
Riley Harper
Riley Harper
Stunts
Glen Yrigoyen
Glen Yrigoyen
Key Costumer
Robin Borman-Wizan
Robin Borman-Wizan
Stunts
Dylan Hice
Dylan Hice
Production Assistant
Zoe Gardner
Zoe Gardner
Stunts
Karl Van Moorsel
Karl Van Moorsel
Set Dresser
Jory Alvarado
Jory Alvarado
Extras Casting
Carla Lewis
Carla Lewis
Additional Production Sound Mixer
Chris Howland
Chris Howland
Costumer
Felicia Leilani Jarvis
Felicia Leilani Jarvis
Sound Editor
Zach Goheen
Zach Goheen
Mix Technician
David Tichauer
David Tichauer
Visual Effects Supervisor
Kevin Souls
Kevin Souls
Researcher
Lance Malbon
Lance Malbon
Stunts
Kimberly Shannon Murphy
Kimberly Shannon Murphy
Digital Intermediate Producer
Amy Redfern
Amy Redfern
Casting Assistant
Leigh Jonte
Leigh Jonte
Grip
Edward R. Apodaca
Edward R. Apodaca
Actor's Assistant
Paul Kahil
Paul Kahil
Grip
Mike Morales
Mike Morales
Stand In
Michael James Faradie
Michael James Faradie
Stunts
Jimmy Hart
Jimmy Hart
Sound Editor
Leo Marcil
Leo Marcil
Post Production Accountant
Leah Holmes
Leah Holmes
First Assistant Accountant
Brandon Linville
Brandon Linville
Location Assistant
Christina Beaumont
Christina Beaumont
Location Manager
Stephen Mapel
Stephen Mapel
Production Secretary
Jessica Adler
Jessica Adler
Actor's Assistant
Mayra-Alejandra Garcia
Mayra-Alejandra Garcia
Additional Second Assistant Director
Katie Pruitt
Katie Pruitt
Sound Assistant
Paola Magrans
Paola Magrans
Production Intern
Celine Eva Gimpirea
Celine Eva Gimpirea
Special Effects Technician
Roxanne Gross
Roxanne Gross
Associate Producer
Daren Metropoulos
Daren Metropoulos
Second Assistant Camera
Megan Morris
Megan Morris
Grip
Brett Elliott
Brett Elliott
Grip
Andrew Williams
Andrew Williams
Grip
Donnell Wiley
Donnell Wiley
Grip
Jose Reyes
Jose Reyes
Additional Second Assistant Director
Debbie Chung
Debbie Chung
Set Medic
Ericka Poniewaz
Ericka Poniewaz
Stunt Coordinator
Rob Alonzo
Rob Alonzo
Fight Choreographer
Rob Alonzo
Rob Alonzo
Stand In
Sierra Schotts
Sierra Schotts
Pyrotechnician
Bill Harrison
Bill Harrison

SWITCH.

The movie isn’t for everyone, of course, but it’s a fun ride back to the past with fantastic performances, hilarious comedy and beautiful aesthetics. Tarantino is the one director in 2019 that can get huge names without people referring to his films as “that Leo film“, and I think that’s worth something whether you’re a fan or not. It’s rare for a film like this to be a mainstream release, and in the lacklustre year of 2019 I think it’s about time we got something in cinemas that's original. - Chris dos Santos Read Chris' full article... https://www.maketheswitch.com.au/article/review-once-upon-a-time-in-hollywood-another-tarantino-classic

msbreviews

If you enjoy reading my Spoiler-Free reviews, please follow my blog :) 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 … 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. Rating: A-

Gimly

I'm not here to explain _Once Upon a Time In Hollywood_, just to enjoy it. _Final rating:★★★★ - Very strong appeal. A personal favourite._

Wuchak

***Tarantino’s revenge on the Manson psychos*** In the late 60s, Rick Dalton (Leonardo DiCaprio), a popular TV Western actor, finds his career taking a downturn and tries to recover with the encouragement of his kick-axx stunt double and best friend, Cliff Booth (Brad Pitt). Sharon Tate (Margo Robbie) & Roman Polanski are neighbors with Jay Sebring always hanging around (Emile Hirsch). Meanwhile the Manson Family nutjobs are lurking in the background, prepping to attack. “Once Upon a Time… in Hollywood” (2019) is Quentin Tarantino’s 9th full film and, for me, ranks somewhere in the middle of his oeuvre. It may not be as great as “Pulp Fiction” (1994) and “Django Unchained” (2012), but it places well with “Inglourious Basterds” (2009), “Jackie Brown” (1997) and “The Hateful Eight” (2015). A famous director once succinctly defined a great movie as such: Three good scenes, no bad scenes. While the second part of this definition is debatable with "Once Upon a Time... in Hollywood,” seeing as how the movie could've certainly been tightened up (there are some dull sequences), there's no doubt that it fulfills the first part. My three favorite scenes are: The amusing satirical Bruce Lee confrontation; the great Spahn Ranch episode, which effectively creates an underlying sense of menace; and, of course, the entertaining hippie attack in the final act. Thankfully, there are numerous additional gems: The friendship and respect of Rick and Cliff; the audacious flamethrower sequence; Rick's breakdown with the precocious girl actor (not actress); the beautiful women throughout; the great cast, including several celeb cameos; the entertaining soundtrack; Brandi, the pit bull; Rick's meltdown in his trailer; Rick finally pulling off a quality acting scene via ad libbing; George Spahn not remembering Cliff; everything (surprisingly) turning out to be precisely as so-and-so said; the allusion to what MAY have happened to Cliff's nagging wife (Rebecca Gayheart) on the boat; the way it should have turned out on that infamous night; and the heartwarming close, The film runs 2 hour, 41 minutes, and was shot in the Los Angeles area. GRADE: A-

JPV852

Well, the last 15-minutes were great, the first 2.5 hours on the other hand was... uneventful. I have an interest in Hollywood, more from the 1980s though, so some of the slower scenes still kept my attention, but there's no real plot and minimal character development. That said, DiCaprio and Pitt both give great performances and Margot Robbie of course had her moments, however I could only chuckle during the theater scene when she kicked her bare feet up. Okay, Quentin, lol. **3.0/5**

Matthew Brady

“When you come to the end of the line, with a buddy who is more than a brother and a little less than a wife, getting blind drunk together is really the only way to say farewell.” ‘Once Upon a Time In Hollywood’ is a chilled blast from the past told like a fairy tale. It’s both aimless and yet meaningful with the commentary on the new era in Hollywood. The movie pays tribute to old Hollywood, film making, Sharon Tate, stunt work, and actors. This is perhaps Tarantino’s most personal and mature movie his made, until the last 10 minutes (which I love) goes complete ape sh*t. I can’t think of any other director where the passion and love for movies is so transparent through Tarantino's craft. He’s such an old school film maker that he and Martin Scorsese are the last golden age directors, as every new release feels like an event. In this movie, Quentin presents 69’ Hollywood at its peak, as he remembers it from his childhood. He manages to rebuild classy LA thanks to the crew and creative team. Bright neon lights, fashionable clothes, and late 60’s automobiles. There’s a couple of scenes where Cliff Booth (Brad Pitt), drives around LA and there are long shots that shows off the environment and it’s amazing the amount of detail and effort went into the setting - with Robert Richardson brilliant Cinematography bringing it all alive. Leonardo DiCaprio was absolutely excellent as the fading Western star, Rick F**king Dalton. Dalton, a self-centered, yet vulnerable actor that you both laugh and pity. I will often forget about DiCaprio comedic chops, something similar to Ryan Gosling. I also like the subtle stutter that’s sprinkled through out, which is sad when given some thought that it’s something he’s got to deal with. There’s a heartfelt scene where Dalton tells his young co-star about a book his reading and mid way through explaining the story he realises it mirrors his life, and breaks down in tears with me crying with him. Yep, I teared up in a Tarantino movie. Leo was the pulse of the movie. Brad Pitt was amazing as the deadpan and cool Cliff Booth. This is probably my favorite performance from him. Cliff’s main character trait is his strength and he demonstrates it multiple times, but leaves the scene before anything can escalate. The chemistry between Leo and Brad was electric. Pitt was the meat of the movie. Margot Robbie was an absolute delight portraying the late Sharon Tate. Despite her slim screen time, but whenever she has screen time, I couldn’t help but smile. I instantly fell in love with her and it’s painfully to think something so sweet and pure could be taken away from us by brainwashed zombies who don’t deserve a life, just a jail cell. I thought her portrayal in the movie was a beautiful tribute and how they handle her gives new life into her legacy. There’s a great scene where Sharon Tate watches a movie in cinemas that’s she’s in, but instead of Margot Robbie re-creating those scenes, they just show the real Sharon Tate in the movie. Now people were left a bit confused over this decision, although it’s clear to me that erasing the real Tate out of the movie would be more disrespectful to her memory, so leaving her in is a touching tribute to her career and her work. Robbie was the heart of the movie. The other supporting cast all did terrific with the little screen time most of them had. Kurt Russell makes a welcoming return as a character that I assume is Stuntman Mike from 'Death Proof' - either way still a welcoming presence. He’s also the narrator and I find it hilarious whenever he tries to pronounce Italian movie titles. Al Pacino was a blast to watch as the tight and yet colorful producer. Mike Moh portrayal of Bruce Lee may have sparked some controversy recently, but I thought he was entertaining regardless and I don’t really think it mocks his legacy at all. I mean, this is the same director who made a four hour movie honoring the legend. Margaret Qualley was crazy good as the hippie girl who’s brain washed into a cult family. It’s crazy to know that Damon Herriman has played Charles Manson twice in the same year and month for this movie and the TV show ‘Mindhunter’, which you should totally check out by the way. Julia Butters, Luke Perry, Timothy Olyphant, Dakota Fanning, Bruce Dern, and Damian Lewis - a stellar cast that did a stellar job. After letting the film sit for awhile, there’s so many memorable lines that I would often catch myself recreating just from memory after seeing it twice. There’s so many great moments as well. The lights of LA coming to life at the dust of dawn, or the suspenseful scenes that actually got me feeling tense watching it. Without spoiling anything, but the Spahn Ranch scene where the Manson family stares down a defenseless Cliff Booth as he tries to speak to an old friend was terrifying - reminds me of the opening scene of ‘Inglorious Bastards’, in terms of building up tension that you wait in anticipation to explode. Still, I think this is the best representation of the Manson family I’ve seen in any movie...by portraying them as absolute buffoons. And of course with it being a Tarantino movie, the music is lost treasure revived for a modern generation. Always fantastic and incredibly catchy. I can’t think of anything better than Cliff driving around LA with the song ‘Bring a Little Lovin’ playing in the background. Overall rating: I’ve seen this movie twice already and I still have a desire to watch it again. This is slowly creeping up to being my favorite Quentin Tarantino movie, but time will tell I guess.

narrator56

I found this to be an excellent movie despite (or partly because of) major variance from the historic events it is based on. Up until watching this movie, I had just seen four Tarantino films, so I guess I am not on his bandwagon. But I really enjoyed two of them (Jackie Brown and Pulp Fiction). I can now say I liked Once Upon a Time in Hollywood just as much as I did those two movies. The dialogue is sharp and the main characters are sympathetic enough so I cared what happened to them. The film is loosely based on actual events, with fictional characters thrown in and at least one major plot change that I won't give away. I think some of the most negative feedback I have seen about this film were from purists who didn't like the major change in the story. But I appreciated the change. If I want total accuracy, I would watch a documentary, but I want to be entertained, not depressed, and I was. And I plan to watch it again, not just for the sake of the story, but because maybe the second time through I will catch more of the movie references that are supposed to inhabit Tarantino's films.

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