This vibrant riff on Tinseltown toys with myths, lost stars and timelines to spin an engaging yarn. What more do you want?
- This article contains spoilers about Once Upon a Time in Hollywood
Quentin Tarantino, the ur-Gen X movie geek director, has, for some time, suggested that he wants to make 10 films then retire. (He insists that Kill Bill Volumes 1 and 2 are one movie, though I remember buying two tickets.) By his count he’s got one more to go, but walking out of Once Upon a Time in Hollywood there’s a feeling of “Gee, what exactly is there left to say?”
All of Tarantino’s passions – the unhurried “hanging out” vibe between ultracool men, the lost pop culture ephemera, the tweaked idols of childhood, the lore of movie-making and fiery explosions of over-the-top violence – are on display. The film’s conclusion, the literal opening of New Hollywood’s gates, make perfect punctuation to the end of a career. (This is partly why I don’t think he’s kidding when he says he’d like to do a Star Trek project next. He wants to take the ride again, but not necessarily in his own ship.)