Leave before the third act and call a movie trash brehs
whose mans is this?
It is pretty unwatchable, and do not be one of those annoying ass fanboy losers who harasses anyone who is not a fan of whatever project or person you regard highly.
Once Upon A Time In Hollywood (Official Thread)
- Thread starter Yoda
- Start date
It is pretty unwatchable, and do not be one of those annoying ass fanboy losers who harasses anyone who is not a fan of whatever project or person you regard highly.
Damn, for the ppl who didn’t like this, can y’all rate y’all top 5 QT movies outta 10? Tryna get some context.
Imma wait to catch a matinee this wkend
Imma wait to catch a matinee this wkend
I'm against someone giving an opinion on something they did not finish.
He missed the best act.
What you give those outta 10?
If you hate the first two hours of a nearly three hour movie, then you are probably not going to give the overall thing a high grade. Are you going to argue that you cannot be against a television show if you have not finished the entire season next?
Haven’t seen it but isn’t that his point? The movie is the whole meaning if you miss parts of it, you’ve missed the whole.
If you watch the first two hours of a movie that is nearly three hours and walk out of it because it is boring you, then yes, you can state that it is terrible.
shyt comparison.
YaThreadTrashB!
Superstar
Bruce Lee catching strays
Completely forgot this had to do with Tate murders
That ending was gold
Completely forgot this had to do with Tate murders
That ending was gold
There are some movies I've watched that didn't completely grab me until the 3rd act and it changed how I felt about the prior two acts. On the other hand, there are movies that have done the opposite. Kept me engaged until the end. It's a whole story so it should be judged as a whole not as parts. You don't judge chapter 1 of a book and say the book is bad. You read the whole thing and then make a judgement.
Thoughts/Review/Spoliers/
I saw it late last night, and I basically agree with the NY Times review, which isn't as positive as I thought, before watching. There was a lot I really liked, the masterful performances from the leads (old pro's, very much in line with their characters) and hilarious cameos, (Al Pacino, and the producer, when he revved his hands like a motorcycle) the fact that Tartantino seemed to finally be making movies about real people, or real characters, and got some of the humanity back, that to me, hasn't really been there since Death Proof. The movie flows so easily and natural as the interactions between the old friends, at it's center. The direction is brilliant, and I love when Tarantino channels the horror genre, like the subtle nods of malice about the clan of hippies descending upon the Hollywood Hills, and the larger world, inch by inch.
The scenes where the now infamous Cielo Drive is slowly shown, as the camera pans back, was perfect, and the way he showed how vulnerable the stars were, just living freely, so much, that, Charles Manson just wanders into the front yard. Margot Robie is captivating, kind, completely channeling the stars of the 1960's, and the era, before instagram and snapchat, a highly privileged and talented young woman, who carried herself with and 'everyday" grace and elegance. The day to day live and inner thoughts of the characters was compelling, funny, and entirely Tarantino, but perhaps a more refined, mature, relaxed Tarantino, who effortlessly shifts between a funny, and heartfelt scene with Decaprio's character revealing his insecurity and heartbreak to a fellow actor, too young to be competition, too old to be cynical.
The scene where Timothy Olyphant asks Dalton if he was almost chosen for The Great Escape, was one of the movie's funniest moments, as I am familiar with many of the old movies referenced and idealized by Tarantino. Tarantino is at home to capture his obsessions and our obsessions with the 1960's, and a bygone era, with the same charm and grace as his cast. I do see the somewhat odd, or unexpected conservatism that he seems to embrace more and, more directly, than I have ever seen from his films, even the later ones. There is a very much a "real man" mystique, that isn't quite played for laughs, and a level of violence directed towards the "dirty hippies" and also, yes, again, women.
Like the NY Times review says, it is basically a western, in the vein of Rio Bravo and El Dorado, the good guys ambling around town, til the bad guys arrive in the last act. The last act, to me, is where the movie lost me, or essentially dropped down into a more predictable, lesser movie. I may have been naive in thinking Tarantino would follow through on the actual killings, with reverence and horror, and not pull the punch everyone expected him to, which is to turn it into a comedic violent spectacle, a righting of wrongs, and a "what could have been"? The themes of which are somewhat troubling, esp. the brutal beating of one female Manson follower, to some of the audiences delight. I felt it coming, as I realized that it was doubtful Tarantino would portray the murders with a Kurt Russell narration. I wanted to see that movie, where Cliff and Rick are basically helpless bystanders to the brutal killings, and left without innocence, as the rest of Hollywood, and California was, after the summer of 1969.
Those scenes, through staged well, and not without a certain charm, are entirely the new Tarantino, brutal and comic violence, goofy characterizations of the Manson followers, and the good guys saving the day. It's a fairy tale, and it's all there in the title.
I saw it late last night, and I basically agree with the NY Times review, which isn't as positive as I thought, before watching. There was a lot I really liked, the masterful performances from the leads (old pro's, very much in line with their characters) and hilarious cameos, (Al Pacino, and the producer, when he revved his hands like a motorcycle) the fact that Tartantino seemed to finally be making movies about real people, or real characters, and got some of the humanity back, that to me, hasn't really been there since Death Proof. The movie flows so easily and natural as the interactions between the old friends, at it's center. The direction is brilliant, and I love when Tarantino channels the horror genre, like the subtle nods of malice about the clan of hippies descending upon the Hollywood Hills, and the larger world, inch by inch.
The scenes where the now infamous Cielo Drive is slowly shown, as the camera pans back, was perfect, and the way he showed how vulnerable the stars were, just living freely, so much, that, Charles Manson just wanders into the front yard. Margot Robie is captivating, kind, completely channeling the stars of the 1960's, and the era, before instagram and snapchat, a highly privileged and talented young woman, who carried herself with and 'everyday" grace and elegance. The day to day live and inner thoughts of the characters was compelling, funny, and entirely Tarantino, but perhaps a more refined, mature, relaxed Tarantino, who effortlessly shifts between a funny, and heartfelt scene with Decaprio's character revealing his insecurity and heartbreak to a fellow actor, too young to be competition, too old to be cynical.
The scene where Timothy Olyphant asks Dalton if he was almost chosen for The Great Escape, was one of the movie's funniest moments, as I am familiar with many of the old movies referenced and idealized by Tarantino. Tarantino is at home to capture his obsessions and our obsessions with the 1960's, and a bygone era, with the same charm and grace as his cast. I do see the somewhat odd, or unexpected conservatism that he seems to embrace more and, more directly, than I have ever seen from his films, even the later ones. There is a very much a "real man" mystique, that isn't quite played for laughs, and a level of violence directed towards the "dirty hippies" and also, yes, again, women.
Like the NY Times review says, it is basically a western, in the vein of Rio Bravo and El Dorado, the good guys ambling around town, til the bad guys arrive in the last act. The last act, to me, is where the movie lost me, or essentially dropped down into a more predictable, lesser movie. I may have been naive in thinking Tarantino would follow through on the actual killings, with reverence and horror, and not pull the punch everyone expected him to, which is to turn it into a comedic violent spectacle, a righting of wrongs, and a "what could have been"? The themes of which are somewhat troubling, esp. the brutal beating of one female Manson follower, to some of the audiences delight. I felt it coming, as I realized that it was doubtful Tarantino would portray the murders with a Kurt Russell narration. I wanted to see that movie, where Cliff and Rick are basically helpless bystanders to the brutal killings, and left without innocence, as the rest of Hollywood, and California was, after the summer of 1969.
Those scenes, through staged well, and not without a certain charm, are entirely the new Tarantino, brutal and comic violence, goofy characterizations of the Manson followers, and the good guys saving the day. It's a fairy tale, and it's all there in the title.
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I thought it was dope. It’s a little slow but that’s fine it’s just enjoyable watching these characters each deal with their own shyt and DiCaprio, Pitt and Robbie were all really good. There were a few really really excellent scenes. Brad Pitts visit to the hippie ranch was dope, Leo’s whole time on that western with Olyphant are two they come to mind. And some will say it’s boring but I thought Robbie going to the movie and being all excited and hype that the audience was reacting well to her performance was really well done and sweet.
Overall I liked it. It’s a little slow at points but it’s worth it because of how good it is at its best.
Overall I liked it. It’s a little slow at points but it’s worth it because of how good it is at its best.