Film review: Once Upon a Time in Hollywood

It’s time to celebrate. Every couple of years, the legendary director Quentin Tarantino delights us with an exciting new film. The self-proclaimed “biggest film geek” by making Once Upon a Time in Hollywood his ninth …

It’s time to celebrate. Every couple of years, the legendary director Quentin Tarantino delights us with an exciting new film. The self-proclaimed “biggest film geek” by making Once Upon a Time in Hollywood his ninth film and, according to his predictions, his penultimate film. For quite a while, the eccentric has promised to quit at the end of 10 films. But, the absence of ingenuity doesn’t seem to be the reason, but at least there’s nothing to suggest in the movie currently being made.


In the early months of 1969, the signs that had been evident for some time became undisputed: the golden age of Hollywood was rapidly ending. In addition, the career of the former Western actor Rick Dalton is also slowly but surely heading towards the path of everything ephemeral. He has been relegated to being a villain in the series. Dalton is experiencing the feeling that he’s getting old. He continues to work in a grueling way despite addiction and depression. He has to his stunt team and his good close friend Cliff Booth, who is an absolute rock and provides a tremendous emotional support system for him.

Around the same time, filmmaker Roman Polanski, celebrated in the eyes of critics and the general public, moves into the house next door with his highly coveted and gorgeous wife, actor Sharon Tate. Not only studio executives and all sorts of admirers are attracted to the beautiful young woman. However, there is also a bizarre man who is one day at her door and asks her a few questions. Form of Charles Manson, this man later gained recognition…

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(c) 2019 Sony Pictures Entertainment Deutschland GmbH


The films Tarantino are distinguished by, among other things, because, as viewers, despite totally different locations, you can expect to see specific signatures every time. The film’s first trademark is the hilariously absurd yet hilarious dialogues, which then escalate into abrupt and violent incidents of violence and endless tributes to films from the history. It all ends with the director’s non-secret love of naked female feet. In addition, there are wacky characters that seem “normal” sufficient that one can imagine they exist anywhere in this world. Add to that quality of work that creates his films as homogeneous works of art regardless of their contents.

This, not surprisingly, is being offered now through Once Upon a Time in Hollywood, although aside from that, the film is not comparable with any of the eight predecessors. If one is brave enough, the new movie will likely be paired with Jackie Brown in relation. As in the previous film, the action unfolds slowly and even more uninhibited but is interrupted by tension or even activities. However, The film takes it one step further, as although in the film of 1997 there is an exciting plot advancing even though the pace is slow in this film, it appears to be captivated by a random collection of incidents that occur in the lives of two main characters.

At the beginning of the almost 3-hour strip, one is left wondering in the beginning, not just once, what the purpose of this strip is to be about and what the story ultimately comes down to. In the third, the film rapidly speeds up in part due to the incorporation of actual characters and their well-known destiny and ends with the typical Tarantino-style final scene; it is clear that the character in the film is not just telling an account. The confessed love of the time seems to be focusing on recording the demise of Hollywood’s golden time. However, instead of a boring document, Tarantino crafts a kind of snapshot of the shift, placing his two characters at the moment of real change and observing what happens to the two characters.

(c) 2019 Sony Pictures Entertainment Deutschland GmbH

However, this narrative structure has particular idiosyncrasies likely to make audiences split. One is no doubt that there isn’t much happening for films with this lengthy running time. The first few minutes will be described by many as dull. One thing that could be problematic for some could be how the film tackles the plot of Sharon Tate. This isn’t limited to the possibly misleading importance of the field during the build-up for the movie. Despite all that, Once Upon a Time in Hollywood remains a Tarantino film, even if it’s because Tarantino is a man who it’s impossible to predict precisely what you’ll receive.

As is the norm, big and small stars will be a part of the picture when the director creates the cast. Leonardo DiCaprio and Brad Pitt as lead actors have already made an impact under the direction of Tarantino. This is true for Kurt Russell, Michael Madson, and many other well-known actors. Then, there are also the old pros, like Al Pacino, and young blood like Dakota Fanning, Emile Hirsch, and Margot Robbie, who plays Sharon Tate. The whole ensemble is excellent; however, as with almost all films he has made, a single particular character stands out in an unquestioned way. In this specific instance, the case is Brad Pitt is the stuntman who is a go-getter, weirdo, and go-getter with a dark background. With the utmost ease of touch and having a great time doing it, he is the show’s star, even in the absence of the great Leonardo DiCaprio.

In terms of the technical execution, it is clear what’s in the package: Tarantino in all his ways. The long shots, as well as his experiments with various films, his innovative images along with precise edits, are things you’d expect to see here. Also, a fantastic soundtrack is suitable for the time and goes beautifully with the pictures. However, this one doesn’t have the one song featured in all his films. Nevertheless, it will stay in your head.

(c) 2019 Sony Pictures Entertainment Deutschland GmbH


Once Upon a Time in Hollywood isn’t easy to evaluate. As a story told in a narrative, it has nothing to offer since almost everything that takes place here does not influence the result of the final film. Instead, the viewer is presented with a series of vaguely related events, which do not serve to tell a tale but rather to paint a picture of the present. As uninteresting as it might sound, in the final analysis, it’s quite fun if you can connect with the characters, dialogues, and other idiosyncrasies and quirks. His latest film will not change anyone who hasn’t enjoyed Tarantino’s work so far. People who enjoy films that don’t stay with narrative or structural conventions will certainly be enthralled by this. Perhaps not his finest film, but definitely the most original.

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