What’s Going On

OBAA is a thriller from Paul Thomas Anderson, who is undoubtedly one of the greatest directors working today. The film starts with the French 75, a revolutionary direct action group in America and in particular, members Bob Ferguson and Perfidia Beverley Hills, husband and wife. The antagonist is Colonel Steven Lockjaw, who takes the lead in bringing the group down with extreme methods. The film then cuts to 15 years later, when Bob is simply trying to raise his daughter, Willa, in peace and safety, but Lockjaw is once again seeking them out.

Behind The Scenes

The film is directed and written by Paul Thomas Anderson, whose previous films include There Will Be Blood, The Master, Punch-Drunk Love and more, and some are calling this film the best of this already great career. Anderson’s films cover a range of genres, with this being one of the more straightforward, at least on the surface. The film is based on the book of the same name by Thomas Pynchon. Anderson has already adapted one of his works, Inherent Vice, a very different sort of film.

In Front of the Camera

It is a big cast, but Leonardo DiCaprio does probably have the most screentime, and it is essentially his character’s story that we follow. He plays Pat/Ghetto Pat/Rocketman/Bob Ferguson, Bob being the last identity he adopts, and for clarity’s sake, he shall be referred to as Bob Ferguson.

Perfidia Beverly Hills is played by Teyana Taylor and is very convincing as the committed revolutionary who wants to overturn practically every element of society. Like many in the group, she has an assumed revolutionary name – Perfidia Beverly Hills. Taylor is probably better known for her work in music as a singer, songwriter, choreographer and more.

Sean Penn plays Colonel Steven J. Lockjaw and gives one of the best performances of his career as one of the most unpleasant characters seen in film in a long time. Penn is a two-time Oscar winner and known for his roles in Milk, Mystic River and Carlito’s Way.

One Battle After Another is brilliant and ranks amongst Anderson’s best films. It is an incredibly complex representation of the struggle the revolutionaries are fighting and the authorities they are fighting, but also family bonds, communities in crisis, betrayal and obsession.

The audience sees the story from the point of view of Bob in the French 75, but they are not the “good guys”; the first revolutionary act we see is them briefly taking over a detention camp for undocumented migrants and liberating it. This is not represented as clever rogues getting one over on the authorities – the oft-employed Hollywood trick of the good guys having guns but not having them loaded is definitely not used here – but a genuine attack. Certainly, the French 75 seems like they do not want to actually kill people, but doing what they do, someone is going to get hurt, and indeed, someone does. The forces of law and order, such as they are, as exemplified by Lockjaw, are horrendous. It is true that the higher authorities may not be aware exactly what Lockjaw is doing and certainly not why, but the fact that that is possible is damning. It is never made completely clear exactly what Lockjaw’s position is – sometimes appearing to be a military officer, in which case, why is he deployed on US soil? Sometimes he seems more like some aspect of law enforcement, in which case, why does he act like an invading army? This ambiguity could be for several reasons: the difficulty of quickly explaining this, the fact that the distinction in the use of military and law enforcement in America is blurring, or that it is blurred to give the audience the impression that Lockjaw had effectively limitless power with no accountability. The only pushback to Lockjaw is from forces outside the authorities. It could even be thought that those above Lockjaw knowingly turn a blind eye, as spending ten minutes in his company would seemingly highlight the fact that he should not ever be given any power. He plays a supremely sinister villain, who keeps adding new layers to villainy, abuses of power, just plain abuse, and violence of every kind. He has an unrelenting nature, which is sometimes more akin to a villain in a slasher film. Yet he is simultaneously a ridiculous figure, riddled with insecurity and self-loathing, but that takes nothing away from how dangerous he is.

DiCaprio’s change from wild rebel to burned-out father is very well done, with his focus for action moving entirely to his daughter. DiCaprio’s best moments are when he is separated from his daughter and trying desperately to find her and help her, particularly the series of conversations he has with revolutionary agents, finding out where his daughter might be, but he can’t remember the long and convoluted password system.

Paul Thomas Anderson is not typically known for action scenes, but towards the end of the film comes an incredibly tense and thrilling set piece on deserted American roads that wind and undulate, hiding characters from each other and then coming into view spectacularly quickly. The extended sequence of what feels very much like an ICE raid on a city is non-stop tension for what feels like six hours.

OBAO is definitely one of the best films of the year and feels incredibly timely, as heart-wrenching as it is thrilling and packed with so much going on that lots of details weren’t able to be included in this review.

Rating (4.5 / 5)

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So if these two actors and Scorsese have a special connection the question remains – who is the better muse for Scorsese?

The Stats

Number of Films – Robert De Niro – 10, Leonardo DiCaprio – 6

Oscars – Of De Niro’s two Oscars he won Best Actor for Scorsese’s Raging Bull. DiCaprio’s Oscar win was for The Revenant – not a Scorsese film. But Scorsese’s only Best Director Oscar came from The Departed, starring DiCaprio.

Reviews Aside from Oscars and looking at the general critical reception going through Rotten Tomatoes Scorsese-De Niro films have an average critic rating of 85%, compared to 80% for Scorsese-DiCaprio. Perhaps a small difference but the 5% between 80% and 85% might just be where a film becomes a classic.

Money In terms of box office – adjusted for inflation – Scorsese-DiCaprio films have made an average $168,000,000, compared to $84,000,000 for Scorsese-De Niro. DiCaprio’s box office is double that of De Niro, a huge difference…but what does Scorsese care of money? He is an artist and would rather make a good movie than a profitable one.

The Switch

De Niro worked steadily with Scorsese until Casino in 1995, when he didn’t work with the director again until The Irishman in 2019 and in this time it seems like Di Caprio replaced him as Scorsese’s go-to actor. Part of this could simply be down to age, Di Caprio could play roles that would be ridiculous for De Niro to play. Its worth noting that when Scorsese was confident enough in the technology he would digitally de-age De Niro for The Irishman allowing him to cover decades of the character’s life.

The Roles

De Niro is famous for playing gangsters, in Scorsese films and beyond, Goodfellas, The Irishman, Mean Streets and Casino all see him take on a gangster or someone in that world. Apart from gangsters De Niro has played a lot of troubled characters – King of Comedy, Taxi Driver and Cape Fear all feature characters who are deeply disturbed. The most glaring exception is New York, New York, a musical romantic comedy where De Niro plays a saxophonist.

DiCaprio has some similar roles – in The Departed he plays a cop posing as a gangster, in Gangs of New York he plays a gangster but this time in the nineteenth century, in Shutter Island DiCaprio plays a cop/patient at a psychiatric hospital. In The Aviator DiCaprio plays the real-life character of Howard Hughes, inventor, filmmaker and more. Then there is The Wolf of Wall Street, with DiCaprio playing the charismatic, ruthless stockbroker Jordan Belfort.

Obviously, when the technology exists Scorsese will splice together some terrifying DiCaprio-De Niro hybrid clone creature – terrifying but undeniably a compelling actor (Robnardo Dei Nirio?)- but until then can we determine who has the best working relationship? My instinct leans towards De Niro but that could be just because the passage of time has elevated these films to classics while Di Caprio’s are more recent. Outside of Scorsese DiCaprio’s recent film output has been vastly superior to De Niro’s…but this isn’t really about outside of Scorsese and so the title will have to be given to Robert De Niro.

Also Read: The Many Films of Martin Scorsese

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The victims in the film are targeted by the surrounding White folks due to their ownership of oil found in their land making them one of the richest communities in the globe, and the carnage led to the creation of the Bureau of Investigations (BOI) which would later become the FBI. The Osage Nation killings are contemporary to the Tulsa Massacre, the wiping of an affluent African American community and the only time that airstrikes took place on US soil, which the HBO series Watchmen (2019) re-enacted thus bringing the event to mainstream discussions and is once more referred in the Scorsese film, while in its turn the Killers of the Flower Moon exposes to the world another of America’s grimiest moments.

The violence in previous Scorsese installments is abrupt, mercurial, and sometimes nihilistic be the outbursts and domestic violence in the LaMotta household in ‘Raging Bull’ or the vulgar displays of power by Tommy DeVito in ‘Goodfellas’ which latter erupts in an almost pubertal manner. In ‘Killers of the Flower Moon’ it is methodical and orchestrated by the mastermind William Hale (Robert De Niro) thus more insidious. In this role the public is presented to a malevolent patriarch different from staple characters of De Niro as young mobster Vito Corleone, boxer Jake LaMotta, cab driver Travis Bickle or career criminal Neil McCauley.

The bloodshed is not like in a gang war picture but more personal with the perpetrators abusing the hosts’ naiveté with cunning schemes under the veil of friendship and love. World War I veteran Ernest Burkhart (Leonardo DiCaprio), the nephew of Hale, marries the Indigenous Mollie Kile, later Mollie Burkhart, under the guidance of his mentor to advance their takeover plans. Ernest poisons his wife slowly while experiencing a moral crisis while doing his role in the plan, still when going after the other Indigenous community members or rival white men aiming for their riches, the former military man lets slide all his perversion. One of DiCaprio’s best performances. DiCaprio and De Niro show how long-term partnerships between actors and directors can produce great artistic experiences.

In smaller roles, the veteran Cardinal Tantoo brings gravitas as the Indigenous matriarchy Lizzie Q, while Cara Jade Myers shines, showing a bohemian and rebellious side in this community by playing Anna Brown. The deep depression of Henry Roan interpreted by William Belleau serves as an analogue to the mental health issues that plague Indigenous communities around the world due to centuries of abuse, neglect, and oppression.
Brendan Fraser is having a second wind and with his imposing physique and powerful voice plays defense attorney W.S. Hamilton who clashes with his matinee idol of yesteryear coming as a surprise act. The BOI agent Thom White incorporated by Jesse Plemons, shows a quiet and almost non-threatening presence that throws off the murderers from his true intentions while keeping the authority that comes with being a lawman.

Among the supporting cast is also Jason Isbell who spars with DiCaprio for the sisters’ fortunes and treats his wife with tenderness, nevertheless in an almost imperceptible way is someone who wants to hold a prize and not the hands of a full-fledged human being.
However, the range portrayed by Gladstone deserves more screen time as it is filled with lust, doubt, insecurity, unconditional love, and despair, all painted in her face, voice tone and body language revealing a leading lady that for long has been as Gladstone gives the picture’s most compelling performance.

The cinematography is another strong point as it is conducted by Rodrigo Prieto who with Panavision engineer Dan Sasaki crafted custom lenses that give a distinct look reminiscent of the 1930s photographs composing a mixture of Western flirting with noir. The props department gives a sense of really being in those times and the clothing section comes with a distinct representation of the Osage Nation that separates them from other Indigenous cultures on the screen.

Opening doors for Indigenous storytelling from their own artists

Scorsese really consulted members of the Osage Nation as can be perceived in the language and the craft mentioned above as also with a more humanized vision towards them when compared to previous movies and series or even current ones. Nevertheless, the movie is not immaculate of criticism by Indigenous peoples on matters of representation.

After watching the picture, Christopher Cote, one of the Osage language consultants, has expressed nuanced and complicated feelings about the result as for him it should be from the perspective of Mollie and the ordeal of her family. Cote added in his Hollywood Reporter interview that to represent them in a proper manner it should be an Osage creative, still for him Scorsese not being Osage did a great job. His opinion can be seen in Burkhart, one of the conspirators, who became sympathetic in some moments which is due to DiCaprio’s skill set.

Indigenous actress Devery Jacobs (Reservation Dogs) has expressed in her X (former Twitter) account “strong feelings” towards ‘Killers of the Flower Moon’ saying that it “dehumanizes people” and the difficulty of seeing their ancestors already brutalized in real history going through it once more in the silver screen with graphic detailing. For Jacobs the saving point of the whole picture is Gladstone.

It is understandable that some art can be triggering, in particular when touching delicate matters as the Osage Nation and the criticism from Indigenous voices should be heard as they are the ones living with the aftermath of said events that still influence their livelihoods. However, in defence of Killers of the Flower Moon, it opens the door for narratives on Indigenous lives and talent in front of the screen, although brutal to watch it is still respectful to their ordeal.

Scorsese had a hard time putting this film together and he is one of the most accomplished living directors who still has an impact, and if it is hard for Scorsese to convince the studios, it is sad to know that a director from a different background hardly would have the necessary pull within the studio game as Gladstone stated in an interview with British Vogue. Killers of the Flower Moon is a solid entry in the final stages of Scorsese’s career, a serious contender in awards season and part of its legacy is opening the discussion of having more Indigenous directors, producers and writers telling their own stories.

Rating: (5 / 5)

Also Read: Martin Scorsese and Denis Villeneuve Vs The “Marvel Movie” Formula

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What Happens

Multi-millionaire and thoroughly corrupt stockbroker Jordan Belfort invites two FBI agents to his luxury yacht after he learns that they are investigating him. Agent Denham, and a virtually silent partner, arrive for what starts as a very friendly meeting. Belfort hands over some of the information the FBI has been trying to get while constantly trying to impress them with his wealth and insisting he’s done nothing wrong. Belfort draws Denham into a conversation and it seems the FBI agent is not happy at being given the case and would be willing to play ball with Belfort. At which point, Belfort tries to bribe Denham, and then the tone changes. It’s immediately obvious that Denham is not willing to play ball and is determined to bring Belfort down. The conversation gets increasingly acrimonious and ends with Belfort literally throwing lobsters and handfuls of cash at the departing FBI agents.

When you sail on a yacht fit for a Bond villain, sometimes you gotta act the part

DiCaprio is sensational in this scene. Despite getting very good advice not to contact the FBI and try some scheming, this is exactly what Belfort does. They meet on his insanely luxurious yacht, where Belfort has beautiful women lounging on chairs, he is dressed in bright white “yacht clothes” and constantly turning on his beaming smile. He offers them lobsters and drinks. It does not seem to occur to Belfort that showing off his immense, and ill-gotten wealth, might not be the best idea when you’re being investigated for crimes in the stock market.

Belfort’s attempt at bribery is fantastic. Basically detailing a story where he advised someone in need of money in what stocks to invest in and that person making a fortune and how Belfort “would be willing to do that for anyone”. When challenged about this being a bribe Belfort reveals he researched what legally constitutes a bribe and that wouldn’t count. Again, it’s a little suspicious for someone to be able to recite the criminal code of a crime if they’re not a lawyer.

Good for you, Little Man

Oh, Agent Denham, you film stealing hero. Denham is played by Kyle Chandler who, and this is important for the Denham role, is your go-to guy for American decency (if you need someone younger than Tom Hanks), he is probably best known for his role in Friday Night Lights where he played an honourable, upstanding and inspirational football coach. Denham’s casual chatting with Belfort seems to suggest he is not interested in the case and possibly dissatisfied with his job, the attempted bribe being when he flips to his real character.

As Belfort becomes more aggressive Denham responds in kind and leads to one of the all-time best deliveries, “Good for you, little man,” when sarcastically congratulating Belfort on becoming a Wall Street douchebag without any help from anyone else. Belfort is stunned by this comment but mainly in that he can’t understand it…he’s rich, really rich, how can he be a “little man”, he’s a giant. A colossus. The embodiment of the American Dream. The thing is, of course, Denham is right.

Fun Coupons

A lot of this scene is purely about status. Of all the places Belfort could have met with the FBI agents he chooses his insanely expensive yacht. He is obsessed with money and how much the FBI agents make, originally pretending to be sympathetic but quickly changing to just mocking them. Belfort assumes that because Denham works for the FBI for what to him is an insignificant amount of money he is a loser. The idea that Denham might believe in what he’s doing is either inconceivable or at best a pitiable weakness. To me, this is the best and most interesting scene in the whole film – not the drug-filled hedonistic parties, not the cult-like team talks Belfort gives his employees, not the incredibly charismatic phone calls Belfort makes when selling stocks but this scene where Denham sizes up Belfort and sees right through him.

Years ago David Cross and Bob Odenkirk made a sketch show called Mr. Show, which contained a sketch based on the premise “someone who makes more money than you is better than you”, so Van Gogh, Einstein and Galileo are actually pretty unsuccessful people. This is Jordan Belfort’s philosophy – he is better than just about everyone he meets because he is richer.

The Hero I’m Going To Be Back At The Office, When The Bureau seizes this boat!

All Belfort manages to do in this scene is upset the FBI and probably convince them that yes, he is absolutely breaking the law. It’s an interesting look at the dynamic of power in America (and indeed the whole world) – who is the more powerful person? Belfort with his huge personal wealth or Denham as a federal officer, a representative of the most powerful country on Earth. There was a lot of discussion at the time about if people actually saw Belfort as the hero of this film, that people liked him and wanted him to win. I saw this as Goodfellas but for white-collar crime. In this scene Belfort helps further his own downfall, antagonising the FBI. In the final moments of this scene, Belfort has just finished throwing money at Denham and his arrogance and deluded grandeur fade as he realises he has just made a terrible mistake.

Also Read: Iconic Scenes: American Psycho – Business Card Scene

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Another film released twenty years ago and very deserving of a retro review is Gangs of New York, Martin Scorsese’s historical gangster epic.

What’s Going On?

The film is set mainly in The Five Points, a very poor area of New York, where the real authorities are the brutal gangs who struggle for supremacy. The film starts with a confrontation between the two broad groups – those who consider themselves real Americans, and those made up of more recent immigrants. This battle ends with victory for the “real” Americans, their leader Bill the Butcher killing the opposition leader, Priest Vallon. Vallon’s son escapes and is brought up by the state until he becomes an adult and returns, using the name Amsterdam, to find that Bill’s gang reigns supreme and many of his father’s old friends have switched sides. He seeks vengeance but pretends that he just wants a place to live and hides his identity. Amsterdam gets close to Bill in order to make his revenge possible but is at times overawed by the man. Inevitably their gang war starts again.

In Front of the Camera

The film has a sensational cast. This was the first film I saw Daniel Day-Lewis, who plays Bill, and gives a strong performance as the almost psychotically violent but charismatic gang-leader. Leonardo DiCaprio plays Amsterdam who is still seen as the guy from Titanic and Romeo + Juliet and this is perhaps where he starts his ascent to Oscar-winning critical acclaim. Incidentally, this is also the first Scorsese film to feature DiCaprio, who would go on to star in four more Scorsese films and will be starring in two yet to be released films.

Cameron Diaz is Jenny Everdeane, a criminal saving up to go to California and the target of many other characters affections. The cast is packed with amazing talent – Jim Broadbent is a powerful and corrupt New York politician, John C. Reilly is Happy Jack – gang member turned police officer, Brendan Gleeson is Monk – a seemingly unaligned legendary streetfighter.

Behind The Scenes

The film is directed by Martin Scorsese who is a titan of 20th and 21st Century filmmaking who has been making masterpieces for around fifty years. Nothing more needs to be said.

The Civil War

The film is set during the American Civil War and for much of the film, this is of absolutely no consequence and stated openly that none of them thought the war would impact them. In the first half of the film, we see the Emancipation Proclamation and newly arrived immigrants signing up to fight but it’s not much of a factor. This changes as the government propose a draft, the first in American history, names will be drawn at random and join the army, with the caveat that you can buy your way out if you’re rich and your name is picked. The unrest of the city caused by the draft builds throughout the film. It also means that there are a lot of soldiers in and around New York City. There is a very real parallel between the savage violence on the streets of New York and the savage violence taking place across the country, where casualties are measured in the hundreds of thousands.

Does It Work?

I have always been a big fan of this film and while it’s not up there with Goodfellas or Raging Bull it’s a great film. Day-Lewis dominates every scene he is in and prowls the set looking for the next person to stab. Bill is no mere thug – he is a leading figure in the community, feted by politicians and the wealthy. DiCaprio’s Amsterdam never quite measures up against him but I don’t think he is meant to. Bill explodes with charisma and showmanship while always maintaining a strong sense of violent menace. When he meets with political leaders he barely alters his behaviour, keeping his ferocity on the surface.

A big theme in this film is how people change. Of those who fought alongside Vallon, Happy Jack is now a police officer who takes orders from Bill, McGloin is part of Bill’s inner circle, Monk, who was always seemingly just a hired fighter, takes a semi-principled stand alongside Amsterdam. The person who doesn’t change is Bill. When he is told repeatedly that times are changing and he needs to change with them he refuses. He keeps the principles that he has, refusing to kill those who are unworthy of a death by his hands, and while he may sometimes wear fancier clothes he has not at all lost his edge. As for Amsterdam revenge has sustained his entire life and is given various opportunities to leave the fight behind and live a genuinely peaceful life and always refuses

The Ending

Spoiler Alert – the film ends with a battle set up between Bill’s gangs and Amsterdam’s. But the battle never happens. Riots have broken out across the city, even extending into the rich parts of town, and the army are called in. As the gang fight is about to begin the area is hit by cannon fire and then soldiers deal with whoever is left. The fight the whole film has built to – between Bill and Amsterdam – doesn’t happen. Sitting in the rubble and covered in the dust both notice that Bill has been impaled by shrapnel and is dying, Amsterdam however decides to speed things up and stabs him, getting whatever measure of revenge he can. A lot of people were unhappy with this ending but I like it. There’s only so much disruption the authorities can allow and sooner or later they will act. I also think this is the only way Amsterdam could have won, like I said, he never seemed to measure up to Bill and a fight where Amsterdam won would have been unsatisfactory.

Rating: (4 / 5)

Also Read: The Many Films of Martin Scorsese

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Today we will look at how the classic love story has been interpreted over the years. And what has made this story such fertile ground for reinterpretation. But before that, lets quickly summarise the play.

Story

In Verona, Italy, the Montagues and Capulets are locked in a violent feud. To the chagrin of Verona’s Prince. However, when Romeo Montague infiltrates a Capulet party, he meets Juliet Capulet. Over the night Romeo and Juliet fall in love, eventually marrying in secret.

Juliet’s cousin Tybalt challenges Romeo to a duel for attending the party but he refuses. Romeo’s friend Mercutio duels instead and Tybalt fatally wounds him after Romeo tries stopping the fight. Romeo kills Tybalt in retaliation and is banished by Verona’s Prince. Romeo and Juliet manage to spend one night together before he leaves.

Juliet’s parents then blackmail her into marrying a man named Paris. Her friend Friar Laurence gives her a drug that will make her appear dead for 42 hours to allow her to escape and be with Romeo. Upon hearing of Juliet’s “death” Romeo races to her tomb.

After seeing Juliet’s body and killing Paris in a fight Romeo poisons himself, dying as Juliet awakens. Distraught Juliet takes her life with Romeo’s dagger. With Romeo and Juliet dead the Montagues and Capulets finally stop fighting.

Adaptations

Narrative adaptations of the play date back to the early 1900s and since then there have been many film versions of the story.

There are direct adaptations that set the action within the play’s time period. Examples include the 1968 version starring Olivia Hussey and Leonard Whiting. The Leslie Howard and Norma Shearer 1936 version, and recently the 2013 Hailee Steinfeld version. And aside from them Romeo and Juliet has been the basis for musicals (West Side Story), modern-day gang films (Romeo + Juliet), several animated films (Gnomeo and Juliet and Lion King 2: Simba’s Pride), horror-comedies (Warm Bodies), LGBTQ reinterpretations (Private Romeo), political satire (Romanoff and Juliet), exploitation (Tromeo and Juliet); even metafiction about Shakespeare himself (Shakespeare in Love). Just to name a few.

Evidently the play is a popular inspiration for filmmakers. And many adaptations have had decent critical or box office acclaim. But, what makes this story so attractive to filmmakers and audiences? It can be attributed to three major points.

Actors

Firstly, Shakespeare adaptations are great ways to show off actor’s talents. Many adaptations keep Shakespeare’s language intact which requires great skill to sound natural to modern ears. And because the characters in Romeo and Juliet are emotionally complex, they allow actors to show a great range in their performance. As a result, adaptations of the play have attracted many talented actors and actresses, young and old, new and established. Which appeals to filmmakers from a career perspective and audiences for entertainment value.

Themes

Secondly, the story’s themes are universally appealing and malleable. Allowing constant reinterpretation. The themes of love, the folly of youth, the power of individuals against larger systems of power, etc. speak to a great number of people. It also allows the story to be told in many different ways as writers and directors interpret these themes differently. And as our perceptions of these issues change over time so to can our interpretation of this story. Allowing infinite storytelling possibilities.

Young and Old

Finally, the story offers something for both younger and older audiences. The heightened emotions of the characters and rebelling against systems of authority are very relatable to younger people. Easily allowing young audiences to identify with the characters. And older audiences can appreciate the story’s subtext (the sins of the past ruining the future) and the different spins each new adaptation puts on the text. Whether that be American racial tensions in West Side Story, LGBTQ representation in Private Romeo, or the irreverent parody of Tromeo and Juliet. Which only improves its popularity.

This tale may be over four centuries-old but as this article proves so, there is a version of this story out there for every Juliet and every Romeo.

Also Read: Films That Have Supported My Mental Health

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Howdy Cowboy?!

Brad Pitt being Leonard DiCaprio’s stunt double? It seems that in the 60’s everything was possible. Meet Rick Dalton (DiCaprio), a once very well respected television cowboy, whose career is now spiralling downward at a rapid speed. After gaining worldwide fame with the Western television series ‘Bounty Law’, Dalton is now becoming one of the oldies on his way to his showbiz grave. Being there to help him out with his professional and personal life is his stunt double/close friend/personal driver Cliff Booth (Pitt). While Dalton is constantly being reminded of the glamourous life he once had, his new next-door neighbour Sharon Tate (Margot Robbie) is dreaming of her glorious upcoming acting career. In the city where it’s all about fame, status and being rich, both Dalton and Tate are doing everything they can to keep their fantasy alive. For Tate that means getting to know rich and famous, for Dalton it means going to Italy and making movies that are out of his comfort zone. Of course, as any good friend, Booth is joining Dalton during his Italian voyage.

Six months after they first set foot in Italy, Dalton and Booth return to Hollywood. Dalton got married to actress Francesca and his outstanding life is back on tracks. Booth starts again living his usual Hollywood life. Enjoying the city and its people, the time with his dog and naturally also his on-set work (although that seems to become less and less). When he one day decides to give the rather horny hippie Pussycat (Margaret Qualley) a lift to the Spahn Movie it seems that also his life will be influenced by a woman. Curious to find out what happened to their lovely neighbour Tate? Well, she got married to a rather famous Polish director. It seems that Hollywood is the only thing that connects the three of them. Well, a Tarantino movie wouldn’t be a real one if there wouldn’t be more than what meets the eye…

A brilliant tribute to Hollywood made by outstanding people

“Once Upon a Time … in Hollywood”. Well, the title says it all. Tarantino is honouring Hollywood most meticulously and nostalgically. TV and movie pastiches, numerous billboards, the typical 60’s cinema theatres, the incredibly recognizable pop tunes, and commercial advertisements are all passing by. However, it’s mostly the film crew that was able to get the right vibe flowing through the film. First of all, there’s the stunning production design from Barbara Ling. She thought of every single detail: whether it’s the interior of the saloons, the neat and clean design of Dalton’s mansion or colourful and dazzling parties, it’s all achieved beautifully.

We also have to applaud the flawless work of Arianne Phillips who was in charge of the massive variety of costumes. From rock ‘n roll cowboy to stylish actor and from just an everyday outfit to multi-coloured, elegant and chic dresses, it seems that no costume was too hard to find or to create for her. If you’re Quentin Tarantino then you know how to choose your cinematographer and with Robbie Richardson, he made a faultless choice. Richardson brings life and colour to this film like no one else can.

Pitt + DiCaprio + Robbie = the perfect trio

Pitt, DiCaprio, and Robbie all in the same film. Do we need to tell you how great that casting was? Probably not but we’re going to do it anyway. One thing is for sure: DiCaprio is not going to have to wait for another Oscar as he did for his first. He’s spot-on as Dalton. One moment he has to deliberately act like a beginning actors while a few seconds later, he has to perform like it’s his last scene ever. DiCaprio does it with an enormous amount of flair, emotions, and craftsmanship.

Having one great actor was not enough for Tarantino as he also added Brad Pitt to the cast. Pitt oozes tranquillity, charisma, and personality as the rough-though, straight-to-the-point but also loving stunt double Booth. It will be an extremely close call who will take home the awards for best leading actor. If you’re looking for a leading actress who performs impeccably a beautiful, full-of-life and determined upcoming actress, then you should go for Robbie. She gives this film the more elegant, colourful and joyful touch.

And the award goes to…

“Once Upon a Time … in Hollywood” may or may not be Tarantino’s penultimate film and if he decides to fold up his director chairs after his next film, then we hope that that movie will be from the same calibre as this one. “Once Upon a Time … in Hollywood” is a visually stunning, perfectly performed, while also being a craftily and passionately made homage to Hollywood in the ’60s. It would come as absolutely no surprise if “Once Upon a Time … in Hollywood”, its director and cast become the front-runner during the following award season.  

Verdict: (4 / 5)

Also Read: 5 Horror Films & The Real Events Behind Them

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Martin Scorsese / Leonardo DiCaprio

This duo first appeared in 2002 with “Gangs of New York” and have produced four feature films together since, with two more in development as well as a promotional short. While this partnership has not produced as many films as Scorsese’s other famous partnership with Robert DeNiro, it is arguably more varied, with their collaborations including genres like crime, comedy (“The Wolf of Wall Street”)and biopic (“The Aviator”), with Leo helping the director win his first Oscar with his role in “The Departed”

Interestingly it was actually DeNiro who introduced the pair, after having worked with DiCaprio previously, DeNiro sang the young actors praises and that Scorsese needed to work with him, with the director referred to as “extraordinary fortune” and that they wanted to make movies the same way

Christopher Nolan / Michael Caine

When Christopher Nolan turned up at Micheal Caine’s house, he was initially going to turn down the part of Alfred, Batman’s loyal butler, as serving dinner and coffee didn’t really appeal to the veteran actor. Then he read the script and quickly changed his mind, noting that he had “written great parts for real actors“.

Michael Caine is a prolific actor who has been in the business for over sixty years, so it’s fair to say he recognises talent when he sees it, and that’s exactly why he keeps partnering up with Nolan. Since “Batman Begins” in 2005, Nolan has included him in every one of his films, with a small voice cameo in “Dunkirk” being the only time he hasn’t appeared in person.

Sam Raimi / Bruce Campbell

Raimi and Campbell have been friends since high school, making short films in their spare time. They eventually convinced some dentists to invest in their first feature “Evil Dead” and both of them became cult horror icons.

Bruce Campbell has gone on to have roles in various fan favourite projects, but aside from his role as Ash Williams, he is also known for his memorable cameos in various Raimi movies, especially his Spider-Man trilogy, appearing in various roles through the series. If Spider-Man 4 had ever gone into production, Campbell would once again appear, this time as the villain Mysterio.

Guillermo Del Toro / Doug Jones

Possibly the least recognisable duo on this list, not due to the body of work, but because Doug Jones’ face is often hidden behind hours worth of prosthetics, with his first big break actually being a McDonald’s ad. He first met Del Toro on the director’s English language debut “Mimic“. Despite the films’ troubled production, the two became friends, bonding over their love of monsters and movies.

Jones has appeared in all of Del Toro’s films since the original “Hellboy”, except for “Pacific Rim”, with his biggest arguably being the creature in Del Toro’s “Shape of Water” which won an Oscar for Best Picture.

Matthew Vaughn / Mark Strong

Some partnerships happen because of a pre-existing friendship or a recommendation. Some just happen because the pair find each other easy to work with, as is the case with Director Matthew Vaughn and actor Mark Strong.

The pair have worked together four times since their first collaboration in 2007’s “Stardust” with Strong only being absent for X-Men First Class. Having previously played villainous characters in “Stardust” and “Kick-Ass” he plays Merlin in the “Kingsman” films, in which he is a member of the super-secret spy organisation.

Wes Anderson / Bill Murray

Murray has worked with Anderson since his second feature “Rushmore”. Anderson sent him the script with no expectations, then had an executive leave their own office while Murray talked to him about the role. His role in “The Royal Tenenbaums” happened simply because Murray lived close to the shoot, the two talked about “The Life Aquatic with Steve Zissou”.

Murray and Anderson have such a good rapport, that he instantly says yes when the director calls, no matter the project. He must get the call a lot as Murray has appeared in all of Anderson’s film since, totalling eight, with some being important parts, and others just wordless cameos.

Quentin Tarantino / Samuel L Jackson

Tarantino has several actors that he frequently collaborates with, which he refers to as his “Tarantino superstars“. However. he clearly has a favourite, Samuel L Jackson, whom he frequently writes roles in mind for. The admiration goes both ways, as Jackson cites some of his roles in Tarantino’s films as his favourites.

Jackson has appeared in 6 of Tarantino’s 9 films (Tarantino considers “Kill Bill” one film, and Jackson does not feature in “Once upon a time in Hollywood”). He actually auditioned for “Reservoir Dogs” but didn’t get the part, when he saw Tarantino again later at the premiere, the director told him he was writing something for him, which would turn out to be his Oscar-nominated role in “Pulp Fiction”.

Also Read: Video Nasties: The History of Censored Films in the UK

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Rogue One: A Star Wars Story (2016)

The Plot – The film follows Jyn Erso a woman who has been on the run from the Empire since her childhood because her father is the man who designed the Death Star. Forced by the Rebel Alliance into a mission to extract her father from the Empire’s clutches and so disrupt their plans, Jyn becomes more and more involved in the civil war that is only just beginning.

Why It’s Great – In my opinion this has been the best of the new crop of Star Wars films. A self-contained story (more or less) that fixed perhaps the biggest plot-hole in all of Star Wars – namely, who builds a priceless weapon of mass destruction with such an easy Achilles’ Heel. The cast is sensational with Felicity Jones and Diego Luna as great leads, Ben Mendelsohn doing his Evil Scumbag routine in space and with great actors like Mads Mikkelsen and Forest Whitaker taking on small roles.

Verdict – A wonderful addition to the Star Wars Saga.

Inception (2010)

The Plot – Leonardo Di Caprio plays Cobb, a very special kind of criminal who enters peoples’ dreams to steal information. Challenged to the seemingly impossible act of “inception” – implanting a new idea in a dream that the dreamer will believe to be their own Cobb puts together a crack team to accomplish his goal.

Why It’s Great – Christopher Nolan doesn’t make bad films. Or at least he hasn’t yet. Inception was the first film Nolan directed after Nolan makes blockbusters like no one else, making them as intelligent and original as they are a spectacle. There is a lot of the “one last job for a criminal” motif going on but that is just a great jumping off point. The special effects are truly stunning with the city landscape being twisted and folded as the high point and even if the writing and acting were terrible – which they aren’t – it would be worth watching for the effects alone. As frustrating as the ambiguous ending might be, I like a film that is brave enough not to give you all the answers.

Verdict – A dazzling and smart sci-fi blockbuster.

The World’s End (2013)

The Plot – Gary King wants to reassemble his school friends to complete the “Golden Mile” a pub crawl along twelve pubs in their home town. Sadly for Gary much has changed since school, the group is estranged and he is no longer – if he ever really was – their leader. As the friends reunite and start their pub crawl things in the town become increasingly odd leading to a sensational fight in a pub toilet that reveals what is going on in the town.

Why It’s Great – All of the Cornetto Trilogy are more than what a simple category can describe – all of them are excellent examples of their genre but excel in being films about people. The World’s End is a film about aliens slowly taking over the planet but it’s also about friendship, betrayal, dealing with disappointment in life, youth (and losing your youth), what is life about and more. I would say this is my least favourite of the trilogy but that still could put it in my top twenty films of all time. It has another feature of the Cornetto Trilogy in combining huge, over the top scenarios, in small unlikely places. Few films pack the emotional punch of The World’s End let alone comparing it to other sci-fi comedies.

Verdict – A triumphant end to the Cornetto Trilogy.

Back To The Future Trilogy (1985, 1989, 1990)

The Plot – After accidentally travelling backwards in time teenager Marty McFly interrupts the meet-cute between his parents and thus will never be born. Recruiting the younger version of the scientist who sent him back in time, Doc, Marty seeks to set the timeline right and save himself. In Part 2 Marty and Doc travel to the future to avert a disaster for Marty’s son only to make things much worse everyone – well, nearly everyone. And Part 3…well Part 3 is set in the Old West for some reason ( just go with it, it’s fun).

Why It’s Great – I suppose it’s cheating to put a whole trilogy into one slot but it’s surely a crime to break up these wonderful films when they make such a satisfying collection. It’s hard to overstate the impact these films had on science-fiction and pop culture in general. For many these are the films that made time-travel (and all the paradoxes, dangers and opportunities that come with it) vaguely possible to understand, partly through literally drawing it on a blackboard in Part 2.

Verdict – If for any reason you have not seen these films prepare to watch three of the most enjoyable films ever made.

Annihilation (2018)

The Plot – Lena’s soldier husband returns mysteriously to their home but something is very wrong with him and it isn’t long before the government swoops in and takes control of the situation. It turns out her husband was sent on a secret mission into The Shimmer – a mysterious area of land where normal rules do not apply and her husband is the only person to return from numerous missions. Lena, a scientist and former soldier joins the next team determined to find out what happened.

Why It’s Great – While it does feel somewhat fitting to include a Netflix original film on this list doesn’t mean Annihilation doesn’t got a free pass – it’s a great sci-fi film, and in a way that few sci-fi films are. It has gunfights and monsters and all those things going on it has also has unusual ideas that make you think about the world and the universe. Science-fiction gets a lot of criticism but to me it’s always been the genre of big ideas – whether that’s time travel or space flight or what it means to be human. Written and directed by filmmaking genius Alex Garland and adapted from the successful Southern Reach book trilogy this film comes with exemplary sci-fi credentials.

Verdict – Bizarre mind-bending sci-fi epic.

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