The highly-anticipated trailer for Quentin Tarantino’s Once Upon A Time In Hollywood has arrived. The week began with teaser posters, and today, we get our first look at the film.
Leonardo DiCaprio, Brad Pitt and Margot Robbie step into late 60s Hollywood. DiCaprio plays a struggling TV actor, Pitt plays a stunt double and Robbie stars as Sharon Tate. DiCaprio and Pitt plan to move from TV into filmmaking. The two are next door neighbors to Robbie’s Tate and Roman Polanski (Rafał Zawierucha).
The rest…you’ll have to wait until July for the film, but watch the trailer below and tell us what you think.
Did Steven Spielberg just unveil Apple’s new streaming platform?
That’s hilarious.
Maybe his Netflix comments (which were exaggerated by false reporting) were more about snuffing competition?
How is that hilarious?
Steven Spielberg has nothing against streaming. He’s just asking streamers to play by the same rules as anyone else. And by rules I don’t mean the ridiculously thin rules of eligibility set by the Academy, so as not to handicap small-budget productions, but the unspoken rule of common decency that it is incredibly vulgar for an über-rich producer and/or distributor to spend that much money on campaigning for Oscars and yet do so little effort to get their film seen in theaters.
But he wasn’t only talking about Oscar eligibility rules. He was previously talking about how streaming films are, in fact, TV movies, and while television is good, nothing beats the cinematic experience. So it feels a bit weird to me that he is now openly pushing a streaming service.
He has done TV in the past and he is producing a show for Apple TV so that doesn’t surprise me. It’s possible to prefer the cinematic experience and still respect and take part in producing stuff for the small screen.
Imho. even TV shows are more enjoyable on a movie screen. And I think internet content should not even be eligible for Emmys because it is not broadcast on TV. The best way to solve this controversy would be to reaffirm medium-based rules for awards ceremonies (movie theaters = Oscars, TV broadcasts = Emmys, internet streaming = you-name-it), so basically Hollywood needs create a brand new prestigious ceremony for internet content.
More awards for more people!
You do have a point, but in the age when the long-established award ceremonies are struggling to stay relevant, I find it hard to see a new one becoming successful 😀
Awards shows may be attracting less viewers than they have in the past (a lot of it has to do with awards fatigue, that is seeing the same contenders everywhere for several months) but those who do keep watching awards shows (example:us!) feel stronger engagement than the average viewer from the past. So I do think awards shows have a future at the very least with a niche audience of avid followers if not the general public.
Spot on you hit the target on the bullseye there mate exactly how I sum up my issue with Netflix play by same rules I frankly as many others are in society fukin sick and tired of social media/ digital platforms purely for reason they not traditional media does not mean they entitled to special different treatment to traditional industries …they part of that so this arrogant ” superiority complex ” of social media and digital services and the like on the net is deeply unjustified and thankfully thanx to the likes of Spielberg and q growing cohort of advocates for fairness and equality when comes to future considerations of streaming services competing alongside traditional filmmaking cineplex based films? Reality dawning finally on digital online services they are no longer the exception to the rule and ought to as Spielberg says without question be bound by same rules and laws of traditional cinema…it about damn time traditional industries that digital media/ services are a part of stand up for fairness and equality between formats of how film is experienced …it time to bring digital media/ services into line with the law …not for the law grant exceptions for social/ online/ streaming services …if digital online formats and services wish to participate in Oscars that fine but they must respect and not abuse the irrefutable fact they are therefore duty bound ethically and legally to same rules of promotion, marketing and awards considerations and public engagement in cinemas as traditional film.
I talking bout …we are as a community raising these issues bout the abuse effectively of power and influence by online organisations on the internet …in the digital age at a time govts at long last are waking up to the harsh reality that an unchecked unregulated digital/ social services based world is a ever reckless dangerous environment to be exposed to..especially when your a fascist white racist mass murderer ( as in Christchurch ) while specifically one issue has nothing to do with another in context of traditional regulation, rule of law and traditional legal and governmental institutions that ensure all citizens obey rule if law ( or should), are fighting back standing up for order, and structure of law against rabid, reckless self indulgence of digital online services , esp facebook, YouTube, Google and Netflix as a general theme of the outrageous disgraceful level of abuse of democratic freedoms that come with device as powerful as the internet, it bout damn time these traditional institutions that safeguard and responsibly protect our democratic rights minus excesses of extremism or forms of digital abuse by digital services it bout damn time individuals like Spielberg like global govts are putting their foot down and declaring in united voice to online digital services ‘ respect rules of the traditional world or face consequences of u abuse of power ‘
We at the turning point of digital revolution folks …and not since the innovation of colour in cinema can I recall a more vital form of presentation / style adjustment in cinema to reflect social changes in the world at the time.
I thought I was done with superhero movies for a long while, but Shazam is amazing. The first one of this I like since I care to remember. A genuine renewal with something fresh and competent. (and no, I do not count the great Spider-Verse in these considerations)
The new Pet Sematary slaps too. A much needed cleanser in the middle of this bullshit trend of “elevated” horror.
Looking forward to this. Cannes is a positive.
I know I’m going against the grain, but I think this film looks awful. It’s the usual Tarantino tripe that was revolutionary 30 years ago. I’m so tired of the ego – I mean the trailer pauses for like 5 seconds on the name of the director as if it’s to be revered. Of course the Academy will lap it up, cause they all get a boner for Tarantino. There are so many more creative, new voices that deserve to be recognized.
Thank you, next.
Saw 2 masterpieces in a row today, that could be heavily featured on next year’s ceremony at the main categories…
First, I saw “Us”, which is a soooo brilliant allegory as “Get Out” was, changing the focus from race to… I won’t spoil it. I know there are people with a problem with the final 5 minutes but I thought that was brilliantly executed and certainly SHOULD be that way, to give full power to the sense of the film itself. So far, Peele is 2 for 2, can’t wait for what he does next.
Second, Almodovar’s “Dolor y Gloria”, which features one of my favorite final shots in film history, right away. Penelope Cruz’s role is small but is completely Oscar-worthy, but I think we have a lead actor frontrunner in Antonio Banderas (so due) portraying but not mimicking, a version of Almodovar himself. Undoubtfully, this year’s Original Screenplay frontrunner is served… this is not “Roma”, Almodovar relies more in dialogue and writting than in flashy visuals (even thought the cinematography is outstanding)…
Oscar chances for both films… (or what they should be aiming for, nomination-wise) * denotes STRONG chances of actually winning, already
“Us”
Picture
Director (Jordan Peele)
Actress (Lupita N’yongo)
Supporting Actress (Elisabeth Moss)
Original Screenplay *
Score
Film Editing *
Sound Editing
Sound Mixing
(SAG wise: Ensemble) *
“Dolor y Gloria”
Picture
Director (Pedro Almodóvar) *
Actor (Antonio Banderas) *
Supporting Actress (Penélope Cruz)
Original Screenplay *
Score
Cinematography
Film Editing
Production Design
Sound Editing
Foreign Film *
Off-topic: I always was a little baffled by the reaction that Get Out got. I think it’s a very good film and it’s in my top 30 for that year (a position that a film doesn’t get to without considerable merit) but I never quite got on the “it’s a visionary masterpiece” train for some reason (the only reason I can think of is that maybe for some reason the script doesn’t quite ever become transcendent and remains weirdly just a little bit modest in my opinion).
The reason why I’m talking about this is that with Us I could finally feel an approximation of what people must have felt about Get Out: this is a shocking, bold, incredibly fascinating and masterful film. Go see it
People who raved about Get Out are saying it is not as good. It is interesting that you had the opposite reaction.
it is every bit as good as Get Out was… but with even better pacing. “Us” is a masterpiece.
It is certainly not “as good” as Get Out and it’s far from a “masterpiece.” And as far as “pacing,” it’s 30 minutes too long to sustain its Twilight Zone DNA. It’s solid and intermittently frightening and engaging; that’s about all.
well,i wasn’t that wowed by ‘get out’. and as usual i had no idea why every one went crazy.
no idea, how i will react to this since i’m much of a horror fan. guess i’ll see this *eventually*…
I also prefer Us over Get Out.
Nostalgia plus! Agree it may not reflect changing times as best PIC contender ltr in year but taramtino is well overdue be a frontrunner lord knows he earnt it u never know
一如既往的表示支持!
Unless Sharon Tate slaughters the whole Manson Family… this ain’t going anywhere near the Oscar nominations. That does not mean, this ain’t gonna be good. It’s Tarantino… he still hasn’t made a bad or boring film, yet.
By the way, tomorrow I will be seeing in double feature, “Dolor y Gloria” and “Us”. I fully expect both of them to be heavily featured at Oscar night, given what I am hearing from both. Specially, Almodovar’s.
Just noticed… so Leo and Brad can be playing a gay couple? LOL.
I said the same thing! That back and forth at the beginning of the teaser where they’re talking about loads and their smirks at each other and the fact they live together next to Sharon Tate…my first reaction was so they’re gay obviously.
But no one I’ve talked to, even my boyfriend, saw it that way.
Their characters are fictional, but apparently they are inspired by Burt Reynolds and his stuntman Hal Needham, who were both very much not gay.
sorry but Burt, back then, looked like right out of a Colt magazine (a gay porn magazine) 😉 He even posed nude for Playgirl!
“Shes not getting murdered. I guarantee you she survives.”
————–
I was thinking something like “Lawrence of Arabia” where Peter O’Toole flips off-road on a bike and is dead in the first 5 min’s. Then the story of T.E. Lawrence begins.
Tate’s sister seemed ok with the script. QT seemed to want to get her approval. If it’s a good script, QT has the cast and I’m optimistic he can make it work.
I guess I think she gets murdered but we just don’t see it.
That’s my guess as well. We’ll get a good sense of Tate, Manson and co. before hand without needing to bear witness to it.
Inglourious Basterds is one of the best written screenplay of the last decade and one of my favorite QT. Pitt’s accent reminds me of Aldo. Really intrigue by the Sharon Tate angle on this especially with how QT writes brilliantly flawed women characters.
Also, this probably confirms a Cannes premiere. Fremaux is made this year even without Netflix and The Irishman.
“Fremaux is made this year even without Netflix and The Irishman.”
Although maybe the amount of big-name American directors showing films there shouldn’t be the metric that we measure the success of an edition of Cannes by, as last year so brilliantly proved
I agree 100%. Last year’s lineup was really excellent and it had almost nothing to do with big American directors (Spike Lee being the one exception to that).
That is so true. Last year has Cold War, Burning, Long Day’s Journey Into Night, Shoplifters, Blakkklansman, Capernaum, Happy As Lazzaro. All great films for me. They also had a stronger line up than Venice in my opinion.
“how QT writes brilliantly flawed women characters.”
Female characters that are routinely raped and assaulted in his films.
I don’t mind female characters getting raped and assaulted in films, the brutality happens in reality. You have bad-ass characters like Jackie Brown, Melanie Ralston, Mia Wallace, Honey Bunny, the Bride, O-Ren Ishii, Copperhead, California Mountain Snake, Gogo Yubari, the women of Death Proof, Shosanna Dreyfus, Bridget von Hammersmark, and arguably, Daisy Domergue.
Unless of course we prefer women living Care Bear Land where women are safe and sound smiling then…
Not untrue but they are also some of the most badass females in any movie. It made me wonder, so I asked 15 of my movie-going friends and family, 8 women/7 men, one question: who they would say are their picks for best badass females in movies. The responses:
Ellen Ripley
Charlize in Mad Max
Patricia Arquette in True Romance
The entire ‘revenge’ cast of Death Proof
Uma in Kill Bill movies
Shosanna in Inglorious Basterds
…all the QT character responses were from my female friends and family.
I’m pretty confident this will be his best work since Kill Bill Vol. 1. The teaser was exactly what it needs to be, love everything about it frankly. And his films are consistently good.
Hard to say how it will land. Hail Caesar! recently took on similar terrain and critics and audiences stayed away. These sorts of tinseltown films can tend to be growers.
Bruce Lee did stunt / karate direction for Sharon in The Wrecking Crew. This looks to be a mishmash of late 60s Hollywood / Sharon Tate circle / Manson family. It may work and it may not. Really can’t tell from trailer
The vibe I get from this trailer is that the movie may be a playfully mocking commentary on those hippy-dippy days to a slight extent, as much as it may essentially be QT’s Valentine to Flower Power LA. He’s obviously steering clear of the darker secondary subject matter, and keeping it light, bouncy, comedic – I would say even frivolous – for now. It’s going to interesting, as we get closer to its July 26 release, how they’re going to market it, Accentuate the blockbuster trio of DiCaprio-Pitt-Tarantino, and be tantalizingly discreet with the Manson-Tate subplot? And of course, a lot depends on how the film is received at Cannes. If it’s a critical and public sensation, then anything goes.
why not market multiple ways. 😉
To say this looks self indulgent is to say this looks like a Tarantino film at this point right? Even still good damn is that trailer self indulgent. Still I’m decently hyped
Hullabaloo! I remember that show
Did you know ‘OUATIH’ happens to be the 9th film from Quentin Tarantino? (Kill Bill Vol. 1 & 2 count as one) The trailer should really insist upon it. Such a remarkable feat will undoubtedly drive audiences en masse to theaters.
I know, right? Tarantino’s sense of self-importance used to bug the ever living shit out of me, but now it’s kind of endearing in a sort of pathetic way.
He is important I guess, but the emphasis on “9” seems a bit pointless. Is it a magic number or something? All I could find is a remark he made in 2016 that he would end his career after 10 films, because he doesn’t want to become an old fart director. So it could be a way to tell us the end is nigh, but then it would be more impressive to write: “the penultimate film from Quentin Tarantino”. ‘The Hateful Eight’ was his eighth film btw, so he sure gives a lot of importance to his films’ numbers for some reason.
He is kind of an old fart director, he’s been hitting the same beats for a while now. I’m sure there will be yet another endless scene involving Manson making small talk…slowly…building up to some jump scare moment of violence at the end.
in an interview he said that he is making two kinds of movies. One from a bank of scripts he has written during his free time over time and the others are scripts he felt compelled to make when he wrote. Basterds, Django belong to the former and hateful belongs to the later. There are a ton of similarities between the first two. Dinner scene and opening milk scene are one and the same. Once upon belongs to the former. So there will be stand offs with manson. Rewriting history and all that
Could you point me to that interview you’re referring to? I would love to check it out.
His films have been billed that way at least as far back as Kill Bill vol. 1. I think at the time it was meant to point out that he hadn’t really made that many films and that it was unfair to say you’re “sick of him” because of all the second rate imitators in the late 90s and early 2000s and it just sort of became a tradition after that.
It looks solid. Django Unchained and Kill Bill Vol. 2 are the only Tarantino movies I’ve really liked post-2000, so hopefully this is closer to those.
Can’t wait. Although I found it kinda funny that Pitt sounds exactly like he did in Inglorious Basterds…This looks like it already deserves an Art Direction nomination to me. Great looking retro sets.
Looks underwhelming to be honest. And I sadly think that he’s really really really really going to piss people off with how he handles the Tate murder.
Shes not getting murdered. I guarantee you she survives.
Ah, so much like Pitt using the same accent from Basterds, we’re going to radically change history a la killing Hitler in the theater?
Yeah, what could be possibly go wrong changing the history of one of the most infamous murders in American history?
Oh its going to be controversial but I don’t see Tarantino doing it any other way. For example Tate was pregnant in real life and shes clearly not in the first clips in the trailer.
Don’t you think on some level “Sharon Tate lives” might be seen as incredibly insensitive or glib on Tarantino’s part?
Sure but I’m just saying I’m pretty sure that is what its going to be. Even though I didn’t love his last two films I do have a little faith in Tarantino.
I’m conflicted about him, I had major issues with Hateful Eight and I’m honestly surprised that there wasn’t more honest discussion in film blog/film Twitter circles about a few things in that movie.
No; in fact, it would depend completely on how it’s addressed, and what the message is. It could be the complete opposite, couldn’t it.
Haters will hate.
Yes that would be my guess. This time she fights the fuck back and with the help of her two fictional neighbours, beats the homicidal assholes. While Pete’s POV makes sense to me, too, I must say in this specific case, I would much prefer history rewritten because to be honest, I have zero interest in seeing Sharon Tate murdered on the big screen. Zero. The reason why I’m cautiously optimistic about this.
P.S. If I’m being brutally honest, as far as Tarantino goes, I only REALLY liked two of his films and those were Pulp Fiction and Kill Bill. I get why he is big and I do have respect for what he brings to the industry, but his specific style is just not my thing.
I went back and looked at ALL of Tarantino’s first teasers for his movies. Every single one of them looked underwhelming, especially Inglorious Basterds. But I ended up loving all of them.
Hateful Eight was a steaming pile of dogshit, full stop.
Tarantino needs this one to work, especially considering his fairly open desire to get a Directing Oscar AND pass Woody Allen/Billy Wilder for script wins.
Tarantino getting a third screenwriting Oscar before PTA’s first would be mind-blowing.
Alexander Payne having two screenwriting Oscars while PTA is skunked still kind of blows my mind.
True. And somehow he has two and neither one is for Election, which is arguably his sharpest.
That is bang on. As far as scripts go Election is still amazing and this is coming from a massive Descendants fan
I wouldn’t call Hateful Eight dogshit, but yes it is easily my least liked movie of his. And why does this one HAVE to work? It’s not like he has a string of bad or unsuccessful movies.
There have been diminishing returns with him for a while (frankly, the two Django Oscars were inexplicable). Dude has all the skills of anyone working, and has shown zero artistic growth in a decade plus. Hell, Jackie Brown might be the last film of his that featured genuine human characters.
1000 times this. You nailed it, Pete.
It happens to EVERY director who make their reputations on specific quirks. Unless you learn to work outside your wheelhouse once in a while, the tics begin to get noticed and start landing with increasingly loud thuds.
Lest anyone thinks I’m picking just on the Q, this pattern applies to unique directors like Richard Linklater, Wes Anderson, Danny Boyle, Paul Greengrass, and to a certain extent the Coens and PTA and even Spielberg/Scorcese aren’t immune from this.
This is correct regarding Brown but I love Basterd’s still.
I think Waltz in Django is terrific. I saw all Best Supporting Actor nominees that year and thought he was the most deserving. And the part is not badly-written at all. But I agree, I also like jackie brown a lot, and mainly because of how he handles the dynamics between characters.
No Hoffman should have won for The Master and this is coming from someone who hates the movie.
Of course the part isn’t badly written, it’s got the exact same beats as his previous Oscar win for Q.
Hateful Eight would rule on Broadway
Nah… he probably isn’t as desperate as Nolan was to get am Oscar Directing nod.
Bet it’s close.
I know; isn’t it shocking that he wishes he’d won a directing Oscar? I can’t believe the guy. Unbelievable.
I still find it pretty unbelievable that Basterds did not win the Academy Award for the Best Original Screenplay. There recently was one of these very interesting, private screenings of that film recently in Hollywood that I lucked out and got to go to, and there were a few folks there echoing that exact sentiment. A couple of the people especially (one of them a screenplay oscar winner) said they still couldn’t really believe it had lost.
Looks fantastic. Question is will Tarantino finally get his director win?