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By midlandsmovies, Aug 16 2019 02:39PM

Review - Once Upon A Time in Hollywood (2019) Dir. Quentin Tarantino

Once Upon a Time in Hollywood is a new film fable from Quentin Tarantino which harks back to a Hollywood cinema golden age yet mixes the loss of 50s innocence with 60s counter culture in the pulp-way only he knows how to.

Tarantino launches us into his screen obsessions (and in this film in particular, his love for the small screen) with a 4:3 black and white interview of TV Western star Rick Dalton (Leonardo DiCaprio) and his friend/stunt double Cliff Booth (Brad Pitt).

Jumping forward to 1969 L.A. Dalton is concerned about his less-than-stellar career as the up and coming actress Sharon Tate (Margot Robbie) moves in next door to him with her director partner Roman Polanski. Whilst the paranoid Dalton meets with agent Marvin Schwarz (Al Pacino) who encourages him to get into Italian Westerns, the laid-back Booth reminisces about a time he fought Bruce Lee whilst also meandering around town as a handyman seemingly without a care.

The Bruce Lee fight is one of the many comedic scenes and Tarantino’s fingerprints are all over the film which acts like a highlight reel of all his usual obsessions – Westerns (Django), martial arts (Kill Bill) and hippies and stunt-men (Death Proof) to mention just a few. But at 161 minutes oh boy is it long again, but at least it doesn’t take place in just one room like the disappointing chamber piece that was The Hateful Eight (our review).

As Rick Dalton tries his best to stake a claim in the movie world in Italy, Booth is enamoured by a hitchhiking hippie who takes him to the Spahn Ranch – the real-life desert commune location of the Manson Family cult. Radicalized by leader Charles Manson's teachings and unconventional lifestyle, Tarantino has brawly Brad searching for the ranch’s owner in one of the film’s best scenes. With tension and fear the director surprises the audience with the scene’s reveal whilst he returns with a violent ending typical of the director.

Tarantino also expertly plays with the medium of cinema too. We begin by watching the making-of a movie, but it literally becomes the movie in the absence of the film-crew and behind-the-scenes tech guys. But they are soon brought back in by Tarantino as he moves his camera back into place for a second take. And archive footage is mixed in with his usual eclectic soundtrack which feature classic hits from the era whilst almost 2 hours in, he decides to throw in a voiceover for good measure. Why not!

Perhaps the only director today to get away with such arrogant shifts in style, the film is so well made you can’t stop from watching – whether it be a slow-paced scene of Dalton reading a book, an elongated scene of Pitt making dinner for his narratively-important dog or the visually stunning shots of classic cars in the sun-drenched valleys.

And of course it is "about" the movies and history too. As Sharon Tate heads to a theatre to watch her own feature film, Margot Robbie is given few lines of dialogue but this gives power to her happy demeanour and innocent goldilocks which contrast with the audience expectations of the real-life tragedy that befalls her.

But as the film comes to its conclusion – Dalton has some mild success in Italy and returns with a new wife and Booth is let go as his odd-job man – four of the Manson Family members head to the Hollywood Hills preparing to murder these rich “piggies” of the motion pictures.

Tarantino plays upon the audience’s knowledge of the Sharon Tate case and yet like the best fairy tales of yore, he delivers a dream-like ending where the damsel in distress and wicked wolves (not Mr. Wolf) clichés are turned on their head.

The director throws everything into the flick where our focus on the real-life cursed heroine is actually sidelined by the enchanting performances of the fictional characters played by Pitt and DiCaprio.

Where fact and fiction blur, the film uses a terrific cameo by Damian Lewis as an uncanny Steve McQueen at the Playboy Mansion to continue with the real-life people in fictional set-ups. Excellent support also comes from Dakota Fanning, Bruce Dern and the late Luke Perry as well as Tarantino regulars Kurt Russell and Zoë Bell (as stunt coordinators, what else) and Michael Madsen.

But does anyone live happily ever after? Well although there are no glass slippers, there are LOTS of shots of feet, Tarantino’s favourite fetish. But the film’s resolution is the really satisfying surprise here. Known for his love of violence it’s strange that although there is a very uncompromising finale, it may just be his most uplifting ending yet – providing a little bit of lost Hollywood hope.

Far better than his last film, yet not quite hitting the heights of a Django Unchained or Jackie Brown, the film demonstrates that Tarantino truly is in a class of his own in a period where franchise building has mostly replaced the draw of the big-named actor. But this incredibly satisfying love letter to these fictional pulp princes and real-life silver screen starlets provides a brilliant fantasy romance steeped in the glow of an era long gone.

Helter Skelter in a summer swelter indeed.

★★★★ ½

Michael Sales

By midlandsmovies, Jan 12 2016 02:49PM

The Big Short (2016) Dir. Adam McKay

The combination of financial sector nuances during the 2007-2008 economic crisis and Anchorman director Adam McKay hardly sounds like cinematic gold but the quality assets of a celebrated cast and a well-structured screenplay lift new film The Big Short from a risky proposition to a sound investment.

Based upon the novel of the same name by Michael Lewis, the film stars a bowl-cut haired Christian Bale as an eccentric investor who seemingly predicts the inflated bubble of the US housing market. Much to the chagrin of his employers. Bale bets against the affluent market which seems foolishly risky to other banks who take his money hand over fist. Also along for this fun ride is a strangely haired Ryan Gosling (the film is littered with coiffed ‘barnets’) who hears of Bale’s plan and joins in to make some money. At another firm, the ferocious Steve Carrell – who again shows his dramatic chops as Mark Baum – is a man who at first refuses to believe the impending doom but then questions the common sense of those involved.

If those weren’t enough A-listers, Brad Pitt appears as Ben Rickertt, a retired old grizzly-Adams looking banker who is taken to by a couple of eager younger investors looking to get their first big win on the markets. However, as they wheel and deal, he chastises them about the impending economic hardships that will soon face the average family.

As the film reminds the viewer, the complexity and ruthlessness of the market helped create the situation and celebrities such as Selena Gomez and Margot Robbie (!) are used to hilarious effect in cut-scenes where they explain the finer details of banking procedures.

Each character brings a distinctive angle to the multifaceted story yet they are inexplicably intertwined like an unravelable combination of mortgage bonds. Whilst Gosling is merciless in his money making, Bale focuses on the rudimentary logic of the system (his binary brain enjoying the rhythmic patterns of drumming throughout) whilst Pitt and Carrell are the virtuous moral centre of this comedy drama. Pitt’s character is retired – seemingly already aware of the nasty business of the fiscal industry – whilst Carrell’s Baum has the biggest journey. He moves from selfish creature to principled detective who more than once is shocked by the convoluted system that surrounds him.

McKay handles all these scenes well and balances comedy and drama with aplomb. His improvisations from comedy seem to have found a natural place in this film too with performances spiralling just the right side of unrestrained. The intricacies of the markets are teased out to allow the audience to learn – not just to wag-a-finger – and the thorny morals of the narrative are shown from a variety of viewpoints.

An epilogue sees absolutely zero lessons learnt and none of the corrupt organisations held to account for their questionable practices, which is as damning as any of the slightly heavy-handed sermonizing sprinkled throughout.

McKay has stepped up a lot in his directorial game, investing in all-star actors and introducing some up and coming talent as well. Although at times The Big Short seems a bit Wolf of Wall Street-lite, the focus on the details makes this not just great entertainment but a great education.

7.5/10 Midlands Movies Mike

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