Quentin Tarantino’s dream world is a sadistic place, but in a way it’s sublime, like heaven nestled inside hell. Read our critic's review of OnceUponATimeInHollywood
Leonardo DiCaprio as Rick Dalton and Brad Pitt as Cliff Booth in Quentin Tarantino’s Once Upon a Time in Hollywood. Photo: Andrew Cooper/Columbia Pictures Quentin Tarantino isn’t the only director who makes movies that address, invoke, extol, parody, imitate, and fetishize other movies, but he’s one of the few whose dialogues with the past can occupy the same artistic plane as the objects of his reverence — and can even, on happier occasions, transcend it.
For a while, Once Upon a Time seems as if it’s going to be nothing but a series of extended digressions. But it’s shaped like a Western, and gets better, tighter, and more surprising as it moseys along, plainly building to the grisly, still-inexplicable tragedy that’s said to have ended the hedonistic feel of late-’60s Hollywood.
His dialogue doesn’t have the tension of his other movies, but after the interminable macho patter of The Hateful Eight, I welcomed the gentle pacing and the characters’ introspection. I’ve never enjoyed DiCaprio more than in the middle section, in which Rick is a guest villain on a pilot for another TV Western starring an actor played by Timothy Olyphant.
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