“Once Upon a Time in Hollywood” Sony / Andrew Cooper It’s a gut-punch that adds a new layer to Tarantino’s still-evolving narrative approach. The giddy thrill of his revisionist history is complicated by the heartbreaking knowledge that none of it can change a damn thing. So while it’s not surprising that he would try old tricks in “Once Upon a Time in Hollywood,” taking his loving and complex look at Hollywood during the upheavals of the late-’60s to a predictably violent (and often amusing) explosion of brutality, the emotional impact of it is deeper than anything Tarantino has made to date. In Tarantinoland, revenge is never easy (that would take some of the shocking fun out of it, at least for the audience), but it’s always an essential step. In the process of changing the past, Tarantino’s movie is haunted by the truth, no matter the extent of his rescue mission. And yet that creative and emotional twist on Tate’s fate doesn’t conceal the truth, no matter how much bloody fun Tarantino pours on. It’s the same category of large-scale retconning found in “Inglourious Basterds” and “Django Unchained,” with the personal retribution of “Kill Bill,” all in one bone-breaking package. ![]() ‘Barbie’ at CinemaCon: Love or Hate the Doll, ‘This Movie Is for You’ The result staves off nearly all of the horror Charles Manson’s cult inflicted on Los Angeles during the waning days of the swinging ’60s. Instead, the “family” members go to the house next door to her infamous residence on Cielo Drive, where they face a violent end to their plan. In Tarantino’s fictional universe, Sharon Tate ( Margot Robbie) doesn’t just live through the August 1969 murders that rocked Hollywood she isn’t even subjected to the terror of the Manson Family breaking into her house and upending everything she loves. The movie combines his two modes of vengeance story - imaginative riffs on historical tragedies and personal tales of reprisal - into his most emotional movie yet. ![]() With “Once Upon a Time in Hollywood,” however, finds Tarantino entering new territory. Tarantino’s particular brand of revisionist history and righteous anger has long been occupied with righting monumental wrongs, wrapped in uproarious violence that barely conceals his apparent contempt for the darker chapters of modern history. Quentin Tarantino’s good guys might not always win, but the filmmaker has never been interested in letting bad guys prosper.
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