Once upon a Time in Hollywood - DVD + Digital

Tarantino has done it again! ONCE UPON A TIME IN HOLLYWOOD is truly one hell of a cinematic ride. If the WOKE HOLLYWOOD revisionists could learn anything from the American public, it's they enjoy a sad ending turned into a happy one. Not vice versa. Rick Dalton (Leo DiCaprio) plays a stuttering popular cowboy western star in the network tv series Bounty Law. But his acting days are numbered. Cliff Booth (Brad Pitt) is his cool sidekick/stuntman and best friend. Booth is financially broke. He resides in a small trailer behind a drive in theater w/his beloved PIT BULL Brandy. Both are country tough actors struggling to maintain solid work in an industry that's changing by the hour. The movie is set in 1969. The cast and script are super. Lots of sub plots intertwined all throughout this movie.......so pay close attention folks. Booth accidentally intersects with PUSSYCAT ( Margaret Quailey). "Pussy" is a teenage Charles Manson Family member. He provides the hitchhiking hippie chick a ride to the old western movie ranch where she and the other members live. That’s when things get interesting. Manson's followers now occupy the beat up back lot, previously known as the Spahn Ranch. Booth knows it well. It was once used by directors to shoot action scenes for tv westerns. The property still belongs to James Spahn (Bruce Dern). But he's lost his mind and can't remember anything. Booth decides he wants to say hello to Spahn inside the decrypted house. Cliff is immediately met with resistance from Squeaky Fromme (Dakota Fanning). Spahn is too far gone to remember Cliff. At one point Spahn says, "did you say your name was John Wilkes Booth?" I won't tell you what happens after Cliff exits & makes his way back to his car. Needless to say, the Manson clan finds out why Cliff is truly a one man wrecking crew. There are so many comical conversations all throughout the film. In one scene, Dalton is quizzed by movie agent Marvin Schwarz (Al Pacino) about the excessive violence in one of his WWII movies. “Yep...sure was lots of killin in that movie Mr. Schwarz. Lots of killin.” Schwarz convinces Dalton he should give up the small roles he's been taking on tv shows and go to Italy to make Westerns. The financial rewards are much better according to Schwarz. Kurt Russell and Luke Perry also have cameo roles. Russell’s wife is Janet Miller (Zoe Bell), a wardrobe and set director for the tv series Green Hornet. Miller loathes Booth. This stems from Booth being accused of murdering his wife yrs ago while the 2 were out to sea. Randy Miller (Kurt Russell) hired Booth as a stunt double as a favor to Dalton. But trouble ensued when the shows star & karate legend KATO-Bruce Lee (Mike Moh) gets his butt kicked by Booth before filming even begins. KATO boasts that his hands are "registered lethal weapons." Cliff smirks when KATO announces he could whip boxing legends Sonny Liston and Muhammad Ali. Kato asks Booth what's so funny? He then says to Cliff....." You're too pretty to be a stunt man. How about a friendly contest of hand to hand combat. No punching in the face." Cliff obliges Kato. The crew is well aware of Booth's reputation. One of the stage hands warns Kato, "this guy killed his wife and got away it." Too bad KATO didn't know that beforehand. Bear in mind....this sequence is taking you back in time. Cliff is on top of Dalton's house repairing his TV antenna reminiscing about that specific day. Booth and Dalton are lovable comedic comrades all throughout the film. They both go to Italy for a while where Dalton becomes a star overseas and gets married to an Italian actress. Sharon Tate (Margot Robbie) is Dalton's next door neighbor. She’s married to Roman Polanski and is quickly becoming a Hollywood princess. The Manson Family is an integral part of the plot. Tarantino does a remarkable job of flipping the sadistic true crime upside down w/a surprise ending that will have everyone applauding. Booth’s smoking an acid laced cigarette (a gift by Pussycat for giving her a ride) while walking canine Brandy makes the ending worth the wait. The last 10 minutes of this film are narrated by Kurt Russell. It's suspenseful, yet it will will have you clapping at the same time. You'll be standing and cheering for BOOTH, BRANDY, as well nighttime pool lounging DRUNK DALTON! Lets just say ole RICK eventually is forced to bring out THE BIG GUN. The acting is simply phenomenal. A Tour De Force performance by Pitt. If you liked TRUE ROMANCE........you'll enjoy this movie much more. The good guys win in the end. Just like the the old westerns. Lee Marvin and Jack Palance would be proud. Quentin Tarantino is truly a master at his craft. The ONLY actor I would have loved to see in this flick is Christopher Walken. Don't be surprised to see it nominated for a plethora of Academy Awards (including BEST PICTURE). In my opinion, Pitt gives his best performance ever. As for the reviewers who say they hated this film? The HELL w/them. Most are probably vegetarians, drive hybrid cars, eat sushi, attended Cal-Berkley, think John Wayne was a racist and hate Clint Eastwood.

My rating is more of a 4.5. Thanks for reading! “𝑰'𝒎 𝒕𝒉𝒆 𝒅𝒆𝒗𝒊𝒍, 𝒂𝒏𝒅 𝑰'𝒎 𝒉𝒆𝒓𝒆 𝒕𝒐 𝒅𝒐 𝒕𝒉𝒆 𝒅𝒆𝒗𝒊𝒍'𝒔 𝒘𝒐𝒓𝒌" "𝑵𝒂𝒉, 𝒊𝒕 𝒘𝒂𝒔 𝒅𝒖𝒎𝒃𝒆𝒓 𝒕𝒉𝒂𝒏 𝒕𝒉𝒂𝒕" Once Upon a Time in Hollywood is a 2019 comedy-drama film written and directed by Quentin Tarantino. Set in 1969 Los Angeles, the film follows a fading character actor (Rick) and his stunt double (Cliff) as they navigate the rapidly changing film industry, with the looming threat of the Tate-LaBianca Murders hanging overhead. if there's any technique Tarantino has down to a science it is that of the fragmented narrative. Broken – but far from brittle - ‘Once Upon a Time…’ successfully forces two separate storylines to converge into one; consequently this expunges the need for what would otherwise be exhaustive exposition. This is especially true when what is considered common knowledge about Sharon Tate's life - or more specifically, her death - and speaks to the desire to tell a fully developed story using only the bare essentials or necessities. Taking place towards the end of the sixties ‘OUAT…’ stays dutifully committed to its intended aesthetic. The entirety of what is heard in the background or periodically Incorporated as casually announced news-bulletins - like those about the murder of Senator Robert F. Kenedy - are rooted in fact and contextually allude to historically significant events. Drawing from the wealth of influences available, Rick Dalton is a caricature of Steve McQueen ( who, unlike Dalton, made a more successful and comfortable transition from television to films), Edd Byrnes, Ty Hardin, and Pete Duel. Despite some initial difficulties in regards to convincing the surrounding Hollywood vendors to authorize the fitting of their premises with period facades to better represent the 1960s this obstacle was eventually surmounted (with some of these veneers staying in place long after production concluded). (Fun fact: Quentin Tarantino would not allow the use of cell phones on set while filming in lieu of phone booths being installed in the case that calls needed to be made by crew members. Talk about some devilish devotion!) With its paralleled narrative and authentic set design assuming the role of ‘OUAT…’s bread, this sandwich of satisfaction doesn't skimp in ensuring that the filling that is its characters is just as delicious and savory in tandem. They say you can't teach an old dog new tricks - and lucky for the audience sometimes you don’t have to. Possibly one of my favorite performances by DiCaprio to date, his demeanor (and excellently executed accent!) capture the essence of a character that both reaps the benefits of his fame while struggling with the lingering impermanence of it. As if designed to be a direct foil to this conundrum Cliff - portrayed by the one and only Brad Pitt (who does his stunts - surprise!) - embraces the fluidity his role invites and rolls with the punches (literally) as it is necessary As a consequence of this their relationship on screen becomes self-referential in that Cliff often does all of the dangerous fighting while Rick is rewarded with a flashy climax and what is assumingly will be all of the credit for a “job well done”. On the topic of dogs: a three-year-old Pitbull by the name of Sayuri was honored with the Palm Dog Award following her equally committed and sometimes scene stealing performance as ‘Brandy’ (more than deserved, if I do say so myself). Only accounting for approximately 20 minutes of screen time, Margot Robbie's portrayal of Shannon Tate is reflective of the amount of research done in preparation for it. Adorned with an abundance of grace, poise, and some of Tate's real jewelry, the accuracy of her performance reportedly moved some of Tate’s surviving family members to tears. It is a shame this same effort wasn't put into the portrayal of Bruce Lee - who, arguably, could have been written in as someone with less notoriety attached - but this is comfortably written off as a result of an interaction being perceived by audience members as the way in Cliff seems to 𝒓𝒆𝒎𝒆𝒎𝒃𝒆𝒓 it. Setting the audience up with tension from the very start ( as might be conjured following the recollection of Tate’s untimely untimely demise) ‘OUAT…’ comes to a screeching halt following a climatic and violently stylized surprise. It goes without saying that this conclusion is as far as possible from being rooted in truth, but the irony is in how this ending is a significantly happier one. Described as a ‘love letter to Hollywood’, in many ways ‘OUAT…’ simultaneously acts as Tarantino’s sacrificial lamb; it ascends as a forgivably transgressional and sensational depiction of the relationship that directors and actors have with a craft that resembles, replicates, and manufactures reality as it is seen fit. I would recommend!

this movie is great

I don't think the average moviegoer will appreciate this film, but if you are sort of a nerd like I am, you'll enjoy it. The payoff of this movie is surprisingly hollow, but that doesn't matter. The ride to getting there is fun and adventurous. I've watched it twice now, and this is a guy comedy, satisfying the sensory and more superficial aspects of male entertainment. You've got these awesome older cars, this awesome soundtrack, and two likable characters in Pitt and DiCaprio. The end is what has everyone talking, but I think the suspense is best captured between Pitt and the Manson family cult members. Andie McDowell's daughter (last name Qualls, can't remember her first name) is spellbinding and perfectly cast as this L.A. hippie chock full of idiosyncrasies that make for an incredible scene. It's the same sexy tension we are used to seeing from QT's Pulp Fiction, Jackie Brown, and True Romance. I look forward to seeing more of her work, as she has the look and the acting chops to become a big star.

This movie grabs you from the start. It's got this sort of hollow quality - it's not warm, the characters are not terribly sympathetic, nor fleshed out. But, that's exactly what Hollywood "Tinseltown" attracts. People meander here and there around the always sunny, washed out looking, small town, low slung buildings of LA, and in to the coyote filled, lush, landscapes of the Hollywood Hills. There is endless anxiety, and enough xanax to keep the smiles on their lips, and the sway and sashay in their hips. The men have swagger, and are from places like "Missoura." They drink, fight, cuss and quite literally, smoke at every moment. They spend money, and live in luxury, never quite knowing what their careers will look like, next. Their lives ARE a movie, whether they wanted that or not. I was wondering what about the "feel" of this movie so utterly captured me. I think I know: Quentin Tarantino is clearly a man with a deep vision of what he is going after in terms of a look and feel. I get the sense he directly lifted the cinema verite look of American Graffiti for this film. That is, too, an enchanting movie, about one single night, in the lives of Cali high school graduates. It has the same feel. The carbon monoxide roadsters, the endless blaring tinny car radios, the smoking, the greaser hair and the swagger. This is an "American Grafitti" feel tranported to the studs and film goddesses of Hollywood. It was brilliant.

Probably a good movie because of all the interesting characters and clever dialog, but it was way too long to finish. Didn't understand where it was headed. I left when it was shaping up to be a fake back story to the Tate-LaBianca murders. I was around then, and fantasizing about those events is too sickening to indulge in.

Movie was sent and arrived quickly. Well packaged. Once I got it I was able to enjoy my favorite Brad Pitt performance. Would shop here again.

Typically I'm not a Tarantino fan, but this movie is solid.

Me encantó la película, es muy divertida y además está en español latino. Me encanta su humor irreverente!!!

Boring movie 4k worked fine

Ungeachtet seines kommerziellen Erfolges ist „Once Upon A Time In Hollywood“ kein Werk für jedermann. Dieser Film setzt Interesse voraus, er wurde gemacht für Leute, die von amerikanischer Pop-Kultur fasziniert sind, von den Sixties, Los Angeles, dem Filmemachen, von Film-Stars und ihrem Leben hinter den Kulissen der Traumfabrik und von den bizarren Verbrechen der Manson-Family. Wer diesen Kriterien entspricht, der kann sich hier nicht langweilen, sondern wird eine tolle Zeit haben beim Cruisen durch eine faszinierende Szenerie und eine faszinierende Ära, als die Musik cool war, die Autos schön und die Frauen groovy. Alle anderen sind hier einfach falsch und sollen sich doch bitte etwas anderes ansehen. Jene Zuschauer, die enttäuscht wurden, haben Tarantino vielleicht schon immer aus den falschen Gründen verehrt und seine Motivation als Künstler verkannt, denn es steckt viel mehr hinter seinen Filmen, als ein flüchtiger Blick auf ihre Oberfläche verrät, und manches davon erschließt sich erst bei mehrfacher Betrachtung. Dass der Film die Erwartungen mancher Zuschauer nicht erfüllt, könnte am Trailer liegen, der ein rasantes Werk verspricht, doch „Once Upon A Time In Hollywood“ ist entschleunigt und nimmt sich Zeit, wenn er in Bildern schwelgend seine Schauplätze entfaltet. Das ist mal ein anderer Tarantino, nicht grotesk und opernhaft spektakulär, sondern beinahe impressionistisch, ein Film vor allem für das Auge. Gelegentlich könnte das Tempo höher sein, und manchmal wirkt es etwas selbstverliebt, wie Tarantino seine Ideen zelebriert und auskostet, doch am Ende des Tages funktioniert es. Im Gegensatz zu seinen früheren Werken ist Gewalt diesmal kein organischer Bestandteil der Story, was zu Problemen führt, wenn beispielsweise in der Ranch-Szene ein zurückgebliebener Manson-Boy von Cliff Booth vermöbelt wird. Das ist weder lustig noch cool, sondern nur unschön anzusehen, und Tarantino geht hier wohl in seine eigene Falle beim Versuch, sein Image beim Massenpublikum zu bedienen. Kritisiert wurde vor allem der Gewaltexzess am Schluss, aber Tarantino tut nichts anderes, als die tatsächlichen Ereignisse auf den Kopf zu stellen und den Exzess 1:1 gegen die Manson-Killer zu richten, und er ist dabei gnadenlos konsequent. Ein Massaker mit umgekehrten Vorzeichen, „gruesome as you can“: Das Filmgeschehen ist lediglich so absurd und monströs wie die Manson-Morde selbst. Spätestens seit „Inglourious Basterds“ dürfte bekannt sein, dass Tarantino ein Anhänger alttestamentarischer Gerechtigkeit ist, also heißt es auch diesmal „Auge um Auge“, denn nicht nur Nazi-Massenmörder „gehören vernichtet“. In bezug auf das Finale ist allerdings die Frage erlaubt, wie jemand, dessen Wahrnehmung von LSD verzerrt ist, eine Dose Hundefutter noch dermaßen treffsicher zu werfen vermag. Die Leistung von Leonardo Di Caprio sollte nicht unterschätzt werden, denn für einen Schauspieler seines Kalibers war es vermutlich nicht leicht, einen minderbegabten Mimen zu verkörpern, doch die Highlights von „Once Upon A Time In Hollywood“ werden von den Nebendarstellern gesetzt, die eine Reihe von Kabinettstücken abliefern – Al Pacino mit einer Scarface-Reminiszenz, Nicholas Hammond als schräger Western-Regisseur, Timothy Olyphant als hyperreales Revolverhelden-Klischee, ein urkomischer Bruce Dern als George Spahn, Dakota Fanning, Margaret Qualley und Julia Butters - sie alle bekommen Gelegenheit zu brillieren. Bemerkenswert ist die Darstellung der weiblichen Figuren in Zeiten von Me Too. Quentin Tarantino schwimmt nicht mit dem Strom und unterwirft sich keiner feministischen Hysterie und Heuchelei. Wie er die Qualitäten seiner Schauspielerinnen in Szene setzt, das ist offensiv bis zur Exploitation, und sie zeigen sich gern und machen ein visuell ohnehin umwerfendes Werk noch ansehnlicher. Was immer irgendjemand gegen diesen Film einwenden mag, das Ende von „Once Upon A Time In Hollywood“ ist wunderbar in jeder Beziehung und schon allein die ganze Veranstaltung wert. Hier hat das Kino die Macht, die Toten zum Leben zu erwecken und sie weiterleben zu lassen. Das ist tröstlich und befriedigend und ein wunderbares Erlebnis. So wird Quentin Tarantino mit „Once Upon A Time In Hollywood“ buchstäblich und endgültig zum Kino-Magier.

Very enjoyable. Brad really did a brilliant job. Worth the money.

good product