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wonderfulworldofmichaelford · 1 month

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Michael After Midnight: The Films of Quentin Tarantino

There are few directors out there as ridiculously praised and extremely controversial as Quentin Tarantino. He’s done nothing his whole career but release films that garner critical acclaim and massive fanbases due to the stellar acting and writing within his films, but at the same time he’s been relentlessly criticized for his excessive use of racial slurs, his excessive homages to the point of plagiarism, and his habit of inserting his fetishes into every single one of his movies. What fetishes do I mean? Let’s just say his films have a lot of sole, and it would be no easy feet to go toe-to-toe with how in your face he is about what he likes.

While the man does have his problems (don’t get me started, I’m here to review movies, not gossip) and his style certainly isn’t everyone’s cup of tea, I’ve found myself enjoying his work a lot ever since I was a teenager, and his films are what pushed me into checking out a lot of more obscure films in the exploitation genre; in particular, I’m a pretty big fan of blaxploitation thanks to Tarantino’s work, and I doubt I would’ve ever checked it out if not for his constant homages. I can’t really hate a guy who helped make me aware of Pam Grier, can I?

What’s most impressive is that out of his ten films there’s not one I would say is genuinely “bad.” Sure, there’s at least one I think is a boring, middling affair, and there are a couple of heavily flawed but still solid films, but there isn’t a single awful movie in his filmography. That’s honestly pretty impressive, especially considering the sort of weird throwback films he makes. After finally sitting down and watching Once Upon a Time in Hollywood recently, I decided it was finally time to bite the bullet and do what was a long time coming on this blog: Review Tarantino’s movies. And then I just decided, hey, why not review them all at once, as an homage to Schafrillas Productions and his director rankings? Oho, see, I can homage things too!

To be clear here, I’m only reviewing the films Quentined and Tarantined by the man himself; the “Tarantinoverse” is a bit more expansive than his own filmography, as True Romance (which he wrote) is canon and Machete, Machete Kills, From Dusk Til Dawn, Hobo with a Shotgun, Planet Terror, Thanksgiving, and the Spy Kids movies are all part of the “show within a show” side of his world, but those are all topics for another time. Right now, it’s all Tarantino baby! Now let’s get on to the actual ranking, and pray that I don’t put a foot in my mouth with these opinions.

10. Once Upon a Time... in Hollywood

I feel pretty safe in calling this Tarantino’s worst film. It’s not necessarily awful or anything, it has good qualities to it, but it takes every problem Tarantino’s style has and cranks it up to 11.

The film is long and dialogue-heavy, with lots of that classic Tarantino writing, but while individual scenes are good such as when Leonardo DiCaprio’s character is filming a scene with a little girl or Brad Pitt’s character goes to the ranch the Manson Family are holed up at they never really feel like they congeal into a cohesive narrative, instead feeling more like a long string of vignettes. This is especially bad in regards to Margot Robbie’s Sharon Tate, whose numerous scenes really add nothing to the movie but constant looming reminders that Helter Skelter is going to happen and lots of shots of Robbie’s feet. The excessively padded runtime is so bad that when you finally get to the part where the tables are turned on the Manson Family, a historical twist that should feel fun and cathartic, it comes off as too little, too late instead.

It’s really a shame the film is so meandering, because in almost every other aspect it really shines. Every actor is giving it their all; Pitt and DiCaprio are absolutely fantastic, Robbie brings charm even to her filler role, and every single bit part actor is fully committed and leaves a mark. Standouts include Dakota Fanning as the de facto head honcho of the Family when Manson is out and Mike Moh as Bruce Lee in a scene that is at once deeply disrespectful to one of history’s greatest action stars and also very funny. This is a film you can tell everyone involved gave a shit about.

But for me, it’s not enough for me to really love the film. I like a lot about the movie for sure, but I just hate how nothing ever really comes together in a satisfying way. Maybe if a bit of the fat was trimmed I would have a higher opinion of the movie, but as it is three hours of vignettes (even well-acted ones) is truly excessive. It’s mid at worst, but for Tarantino that’s still pretty shocking when everything else he’s done is above average at worst.

9. Death Proof

This is a truly underrated film, but frankly, it’s easy to see why it is that way. This half of the double feature that was Grindhouse is a throwback to films that were actually two movies spliced together, and it has all the issues that entails. The first half of the film is a more grounded, dialogue-heavy buildup to a terrifying conclusion, while the second half is a wild and crazy action and stunt showcase, and the two halves feel at odds with each other…which is by design, but still.

This might be a hot take, but I find the slow burning first half to be the superior part of the film. As much as I love Tarantino’s insane action films, Kurt Russell’s portrayal of the sinister Stuntman Mike is just just utterly gripping; he is easily one of the best villains in Tarantino’s filmography. The whole first half establishes him really well, building up the anxiety until he finally gets to show the girl he leaves with just how well he death proofed his car. He’s just so damn cool.

And then comes the second half where he’s reduced to a bit of a chump. And this probably wouldn’t be nearly as bad if the protagonists up against him were compelling, but they’re not. They’re a bunch of girls who are boring at best and relentlessly unpleasant at worst; the fact they leave behind one of their friends to an uncertain (but likely unpleasant) fate at the hands of a creepy redneck is especially appalling. Beatrix Kiddo they ain’t.

This is a wildly uneven film, so I can see why it didn’t find its audience right away, but I think these days it had garnered a minor cult following. If you can handle the flawed second half, this is still a really good movie with a captivating villain performance that more than makes up for its shortcomings, but I definitely can’t justify putting it any higher on this list.

8. Inglourious Basterds

Oh, this might be a controversial one. This movie is the same sort of beast as OUATIH, which is why I have it so low, but with one crucial difference: It does everything better. Yes, this movie is long and a bit meandering, but it always feels like it’s moving towards a final goal. Yes, it ends with a history-altering plot twist, but this one might be the most cathartic one of all time. And yes, there’s gratuitous feet shots, but at least they’re in plot-relevant scenes.

Of course, the best thing about the movie is the villain, Hans Landa. Christoph Waltz’s big American breakout is one of the most compelling villains of the 2010s, a charismatic, cunning, self-serving Nazi bastard who you really want to see get what’s coming to him. I might be inclined to call him the best Tarantino villain of all time.

I think what weirdly brings the film down is the titular Basterds themselves, and not because they ultimately feel superfluous to the plot; it’s the same sort of thing as Raiders of the Lost Ark, them being absent wouldn’t have changed much but we also wouldn’t have much of an exciting adventure. My issue is that Brad Pitt aside they are just not interesting or compelling at all. You really need to work hard to sell attempted filmmaker Eli Roth as the ultimate Jewish badass, and the film doesn’t really deliver. If only Adam Sandler took the role as was the original vision; we really were robbed. It’s all the worse because it cuts away from the actual compelling plot with Shosanna for these schmucks.

To be clear, I don’t think this is a bad film by any stretch of the imagination, but I find it falls short of the hype around it. I’ve seen it described as movie with a lot of great scenes that never really comes together to be a great movie, and I mostly agree with that assessment; there’s so much to love here, but also so much I don’t care about. It’s definitely worth watching but it’s also where you can see the seeds for the problems with OUATIH planted.

7. The Hateful Eight

This isn’t a Tarantino film held in a particularly high regard; it’s not exactly hated, but it’s not what anyone would call their favorite either. Its contentious nature boils down to something apparent right in the title: Every character in this movie is a fucking asshole. It can be genuinely hard to get invested in these people when they’re a big collection of liars, killers, sadists, criminals, racists, and rapists.

Now, if you can stomach these nasty characters, what you’re left with is “John Carpenter’s The Thing… but a Western!” And I have to admit as a huge fan of The Thing, this is a very solid reimagining of the concept in a grounded setting. I do wish there was any character to root for here, but watching a group of people slowly tearing each other apart in a claustrophobic, isolated setting is still fun to watch. I don’t think it’s nearly as good or insightful as Carpenter’s movie, but very few movies are.

This is definitely a movie I can see people hating more than the previous two films, but I feel like this movie is more consistent than Basterds or Death Proof. Those movies have higher highs, but this movie never hits the lows they do, and even if his character is a massive asshole Samuel L. Jackson is always great to see in a Tarantino flick. Plus that brief appearance from Channing Tatum is great, especially with how it ends. This is a very solid film, but “very solid” is about as high as the praise I’ll give it will get.

6. Reservoir Dogs

Tarantino’s directorial debut, and boy is that readily apparent. It does a good job at establishing hallmarks of his style, like the sorts of conversations his characters have, their love of racial slurs, non-linear storytelling, and his trend of casting himself as a douchey minor character. It does everything fairly well, and I’d go as far as to call it one of the best directorial debuts ever… and that’s about it, really.

Like this is a very good film with strong performances—Michael Madsen and Steve Buscemi being the standouts—but it definitely feels less refined than his later works with the same style. His sophomore film just completely blows this one out of the water, to the point it’s hard to muster up the interest to revisit this as opposed to watching Pulp Fiction for the hundredth time. It’s not that this film is bad; it’s just that Tarantino’s later films do what this one does better.

It’s definitely a good film, maybe even great, but there’s clear room to improve. Hell, there wasn’t a single shot of a woman’s feet in the whole movie! Tarantino was slacking.

5. Kill Bill: Vol. 2

Now we’re in to the really great movies. And yes, while it doesn’t keep up the energy of the first film, I would definitely call this a great movie.

Where the first volume was driven by action, this one is more driven by talking, and thankfully the characters are saying a lot of interesting things here (the standout being Bill’s media illiteracy in regards to Superman, which reveals a lot about his character). There’s also the reveal of Beatrix Kiddo’s name as well as her backstory, and there are some standout moments like Beatrix escaping from being buried alive and the tense final conversation with Bill. Overall, the film does a fantastic job at fleshing the story out and expanding our understanding of the characters.

Like I said, though, it just doesn’t keep up the energy of the first film. Budd is great and serves as a more psychological opponent, burying Beatrix alive as a way to test if she has the resolve to finish her quest for revenge, but both Elle and Bill himself are dealt with in a rather anti-climactic manner. It says a lot that O-Ren, one of Bill’s former lackeys, put up a grander and more impressive fight than her boss did. While I do appreciate the more philosophical approach, it’s hard not to be miffed when a duology called “Kill Bill” doesn’t kill Bill in a more grandiose way befitting the character.

Obviously, I don’t think it brings the film down much, and this is still a good conclusion to the story. I just can’t help but feel it could’ve amped things up just a bit, y’know?

4. Jackie Brown

This is probably the weirdest film in Tarantino’s filmography, being an adaptation of a book that lacks a lot of his usual style and features a lot of people he didn’t work with afterwards (like Robert De Niro and Pam Grier). This has led to a lot of people praising it as one of Tarantino’s best works for being unique among his oeuvre… and also a lot of people deriding it for how different it is from his usual style.

I definitely think it’s up there with his best works, but I don’t think it’s the absolute best. It’s sort of like how I see Christopher Nolan’s Batman movies; they’re great films (well, the first two anyway) but I can’t in good conscience hold them up as the best Batman media because they ultimately lack a lot of what makes me love Batman as a character. And this film lacks a lot of what makes me love a Tarantino movie; it’s a fantastic, realistic crime drama, but that’s not really what I’m watching Tarantino for, you know?

Still, its placement on this list should tell you I still see this as a must-watch. Starring Grier alone makes it worth checking out, and it definitely showcases Tarantino has far more range as a filmmaker than you’d expect.

3. Django Unchained

Right from the opening song, you can tell this is going to be an epic movie. Tarantino truly nailed the Western on his first go around, adding his own spin to the genre and making a truly stellar film. However, it’s not without a few issues.

The main cast is fantastic. We have Christoph Waltz as a noble and heroic abolitionist, an atypical role he pulls off flawlessly; Samuel L. Jackson as a sinister house slave who is all about licking the boot that treads on him; and of course Leonardo DiCaprio as a hammy, egotistical slave owner, a stellar villain role that should have nabbed him an Oscar. Even minor roles are great, with Don Johnson appearing as a plantation owner early on and Jonah Hill of all people popping up as a proto-Klansman.

You might notice I didn’t mention Jamie Foxx as the titular Django. That’s because, unfortunately, he’s a bit of an issue with the film. It’s not Foxx’s performance; he makes Django cool and likable, and his awesome trademark Tarantino roaring rampage of revenge in the third act sells him as a truly badass character. No, the issue is the narrative seems to seriously sideline him in favor of Waltz’s character, to the point for large swaths of the film he feels a bit like a side character in his own story. I don’t find it to be a huge issue, but it can be frustrating, especially since this is a very long movie and a few scenes drag on a bit longer than necessary. You really couldn’t give the title character a bit more to do until the last half hour, Quentin?

Still, I don’t think its issues hold it back all that much. This is an incredibly fantastic film whose highs easily overshadow its frustrating lows. Frankly, if any Tarantino movie deserves a sequel, it would be this one; I think Django has a lot of interesting stories in him, and a film where he actually gets to be the central character the whole time would be great.

2. Kill Bill: Vol. 1

This right here is pretty damn close to being my absolute favorite Tarantino film. Where something like OUATIH is all of Tarantino’s flaws compounded into one film, this is all of his strengths together in one film. Fantastically violent action, stellar casting with not a single weak performance, an awesome soundtrack, tons of great homages to the works that inspired it, non-linear storytelling used effectively, and more style in a single frame than some movies have in their entire runtime.

Frankly, I don’t have a lot of issues with the movie, though I kind of don’t like how all the action is front loaded while all the character insight and dialogue gets shoved into the second part. It’s nothing that makes me think less of either film, but I think maybe sprinkling more insight into who the Bride is in this movie and putting some more action in the second part would keep the sequel from feeling a bit anti-climactic. I also wish we got more of Vernita Green, the first assassin we see dispatched onscreen and the one who gets the least characterization; with a third film increasingly unlikely at this point, meaning we won’t ever see her daughter seek her vengeance, it’s a shame we don’t get at least a little more of a look into who she is as a person like we did with Budd and especially O-Ren.

Aside from that, though? This is Tarantino at his best, and Uma Thurman’s crowning achievement as an actress, one that cements her as action royalty alongside the greats like Schwarzenegger, Stallone, and Weaver. There’s just one film Tarantino did that, objectively, is a much better film, and I’m sure as soon as you saw this ranking you knew exactly what it’d be...

1. Pulp Fiction

Of course this takes the top spot. Was there ever any doubt? This movie is everything Tarantino is about rolled into one supremely satisfying package.

The cast is nothing short of phenomenal. We have Bruce Willis in his prime, we’ve got John Travolta pulling out of a career slump, we’ve got Uma Thurman and Ving Rhames in roles that put them on the map, and we have a veritable buffet of talent in minor roles, the most memorable of which is Christopher Walken telling a child the delightful story of a pocket watch’s journey home from war. There’s not a bad performance here. But of course the real superstar is Samuel L. Jackson, who gave a career-defining performance as Jules, the baddest motherfucker around (it says so on his wallet).

The great performances wouldn’t matter much if not for the great script, though. The dialogue in this film is unreal with how good it is, with characters having very odd yet also very realistic and natural conversations. Jules and Vince discussing burgers, for instance, is one of the most memorable sequences in the film… and it’s just them driving! Some of the writing is a little contentious (did you really need to have your character say the N-word fifty times, Quentin?), but none of it is really bad.

I will say Tarantino as Jimmy is one of my few issues with the film, but also an issue I kind of like anyway. His acting is a wonky and there is genuinely no reason why he should be spouting off all these racial slurs (even in-universe, since his buddy Jules and his wife are black), but the sheer audacity of the whole thing saves it. Still, I can’t help but feel the scene hasn’t aged as gracefully as a lot of the film, and the amateur performance from Tarantino sticks out all the more because he is standing right next to two of the most talented actors ever.

Another aspect of the film I think has aged pretty poorly is the gay hillbilly rapists, but I don’t think this aspect is as cut and dry as “hey maybe the white director who has little acting training shouldn’t play the guy who says the N-word.” On the one hand, having the only queer characters in your movie being depraved rapists is not a good look, though this was par for the course for the 90s. On the other hand, the movie treats Marsellus getting raped with the same level of deadly seriousness that a woman in that position would receive in a film. That’s a pretty bold, progressive plot point, especially since men getting raped (especially male-on-male) was and still is used as a joke. And watching the movie in a day and age with tons of queer characters in media does soften the blow a bit, because these aren’t the only gay characters you’ll see in fiction anymore. I think it’s important to have discussions about these sorts of archaic portrayals of queers in film, but I don’t think this breaks the movie.

In modern times the film has gotten a reputation as a “red flag” film loved by toxic guys, and I think that’s unfair; is it the movie’s fault dudebros fail to see the movie is a refutation of crime and violence? Think about it: The only person in the film who gets an unambiguously happy ending is the one who has a spiritual awakening and abandons his criminal ways to walk the Earth. Every other major character pays in some way for their continued violent ways: Butch goes through Hell and ends up in exile, Marsellus Wallace gets raped, Mia overdoses and nearly dies, and Vince does die. Hell, there’s an entire segment where Jules and Vince are repeatedly chastised for careless violence causing a huge mess; as you may recall, Jules’ pal Jimmy was not too keen to find Phil LaMarr dead in his garage, and had some choice words to say about it. Stupid people see the blood and slurs and take it at face value, but the narrative itself tells these sorts they’re well and truly fucked because when you live by the sword, you die by the sword.

Of course, my favorite interpretation of the film is that it is espousing the belief that Beatles fans are superior to Elvis ones, as an extension of Mia’s comment in a deleted scene that you’re either an Elvis person or a Beatles person. Vince is clearly an Elvis guy, and he is presented as an unprofessional, careless buffoon who causes numerous issues and ends up dying due to his own inattentiveness; meanwhile, Jules is vaguely implied to be the proverbial “Beatles guy” (he calls the robber in the diner “Ringo”) and escapes the film unscathed. This is even funnier when you consider that one of Tarantino’s first onscreen roles was as an Elvis impersonator in Golden Girls, something that implies he might be an Elvis guy himself, which would make the film the most epic act of self-deprecation ever.

This is one of the greatest sophomore releases from a director ever, and one of the greatest films of the 90s. This film frequently finds its way to the top of “best films of all time” lists, and with good reason; it is, to this day, just that good. I think there’s a temptation to call any of his other films his magnum opus due to just how acclaimed and pervasive in pop culture this film is, but it got that way for a reason. It is a damn good crime story with all sorts of twists and turns and plenty of stuff for viewers to ruminate on and interpret as they please. Hell, I thought I liked Kill Bill more than it until I rewatched it, but boy does this just blow even that masterpiece out of the water.

If nothing else, the film is incredible for one simple reason: Tarantino managed to insert his foot fetish into the film without it feeling as needlessly gratuitous as it is in some later films! Bravo, Tarantino!

#Michael After Midnight #Review #movie review #Quentin Tarantino #Reservoir Dogs #Pulp Fiction #Jackie Brown #Kill Bill #Death Proof #The Hateful Eight #inglourious basterds #once upon a time... in hollywood #django unchained #action #crime #drama #exploitation #grindhouse #feet

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soft-for-them · 1 year

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Apologies - Once upon a time in Hollywood & plus size reader

Summary: You and Rick, like most siblings do, aren't talking because of an argument. The only thing getting you both to apologise to each other is a group of cult members trying to kill you. (Platonic, reader is Rick's step sister who he's helped raise, so no shipping.)

Trigger warning: Descriptions of fighting and injury, this fic is mainly based in the scene in the film were the Manson family try to kill Cliff, Francesca and Rick, so yeah, there's blood.

Comments and reblogs are much appreciated and help more people read my works.

A/N: I like the idea of writing more fics with the sister reader, idk I think it would be sweet.

The ever constant headache for you both had started around fifteen years ago, you being around five years old whist your older step brother was in his prime staring in Hollywood films and bedding super models like it was a causal Tuesday night.

Around that time your mother had remarried Rick Dalton’s father and them both wanting to get away from it all (aka you) had dropped you off at a random film set were extras roamed around in fake blood and plastic disembodied limbs littered the ground like gravel.

Your ‘parents’ didn’t care that they had dropped you off on the day were a massacre scene was being shoot. Thinking back to that blurry memory you think they hadn’t even realised it was a high budget horror flick Rick was staring in, all they thought about at that time was ditching the hyperactive child on the rich enough son who probably could hire a baby sitter unlike they could.

Whilst Rick spent most of the day dazzling the camera crew and his female co-lead you had spent most of the day in the makeup trailer been cooed over by the hair and makeup ladies whilst stuffing your face with cheese puffs and apple juice.

At one point Cliff Booth had hobbled in, cigarette hanging from his bloody lips and his leg aching from the dangerous stunt he had just performed, his blue eyes going wide as a little curly haired child cheered as he entered the makeup trailer.

“Why is there a child in here?” he had asked whilst taking the cigarette from his lips with one hand whilst trying to rub off the fake blood dribbling from his face with the other.

The makeup ladies had to quickly wipe his face off with soaked cotton balls and wet wipes because he was just making the red mess even worse all whilst a bright eyed you began babbling to him like you knew him forever.

“I’m five!” you had happily declared as one of the women whispered the situation to Cliff.

“That you are little lady.”

So for the next hour instead of fucking off smoking half a pack and challenging cocky actors to fights Cliff Booth spent his time entertaining you. He had no clue what to do with a child but he knew at that moment he had to protect you, he’d always did with Rick and call it an itch but he had a feeling that you were going to stick around.

Now fifteen years later, you complain to Cliff as you dry brush a fake sword’s blade with a rust brown paint, pots of paints and film props surrounding you at your little prop master’s table ready to topple over.

Over the many years you’ve been in and out of your brother’s life, mostly due to your parent’s inability to look after you correctly, you’ve grown to loath the big screen and all the entitled people that come with it, instead falling in love with the small screen and indie films.

Many days you’ve spent watching Star Trek or Colombo on the telly with Rick pointing out which sets and props look to be made of Styrofoam and flimsy plastic.

Now at the age of twenty you have solid work as a prop maker for television. You love the job and you love the people.

Right at this moment you’re trying to make foam swords look real whilst Cliff tries to talk you around to apologising to your brother all because you called him an idiot for looking down on Spaghetti Westerns because they were ‘beneath him’.

“I’m not saying sorry Cliff.” You grumble as you dip your paint brush in a rusty looking solution made from many brown paints and diluting alcohol, “I didn’t spend most of my childhood stuck on his sofa watching B movies only for his failing ass to talk shit about them!”

Cliff hovers around you cluttered desk, the trailer you work in being cramped and filled to the brim with handmade props, no cigarette in sight for he has developed the habit of not smoking when you’re around (that and the trailer filled with props are so flammable that it would combust into flames at out flick of a lighter.)

“AND THEN, WHAT CLIFF!?!” your voice crescendos as you pad away any blotting paint on the prop sword, “He goes and does all those Spaghetti Westerns anyway getting the lead in that Nebraska Jim flick and what, a wife too! He’s funnelling money in the bin like it’s nothing and he still has the gall to talk shit about my line of work and what pictures I decide to create props for.”

You stand up you shin hitting leg of the table you work at making you swear up a storm.

Cliff only watches in slight amusement.

“I’ve worked on Star Trek you know, I’m friends with Leonard Nimoy, I’ve been inside DeForest Kelley house multiple times, I’ve been personally invited and gone to countless parties hosted by Grace Kelly and her husband all because I was nice to her that one time on the set of that musical film-“

“-I thought you didn’t like the Hollywood type.” Cliff asks in such brotherly way trying to get a rise out of you.

What, he might be fed up with your ongoing feud with Rick but he still sees you as his own little sister and he does find it fun teasing you.

“Yeah, well most of them I don’t but she is pretty and nice and she’s my friend- for fuck’s sake Rick is just jealous!”

“Well, that he might be squirt but I think-“ Cliff begins to guide you out the trailer away from the fumes of alcohol and oil paints, “- he might be more jealous that his little sister is being taken away by all these big wig actors.”

Hair a mess, paint covering your dungarees and magnifying glasses propped on top of your head like you some kind of mad scientist, a flow of extras on their break all in medieval garbs walking around, you turn around to Cliff with an anger on your face that melts into a profound sadness.

“He didn’t even invite me to his wedding, I haven’t even met his wife, for crying out loud Cliff I don’t want another absent father, I’ve already got plenty of those.”

Cliff was itching to get out a cigarette out of pocket but once he hears your outburst, once he sees your eyes welling up with years and your round body slump somewhat he bounds over and engulfs you in a big hug that only fathers and father figurers know how to do.

“Come home and talk with Rick. I’ll be there and you can meet Francesca.”

You look up at Cliff as you both begin swaying in the hug.

“Can Brandy come to?”

“Of course kiddo-“ he says tightening his grip on you, “-to be honest I think she likes you the best.”

You let out a loud booming laugh that says ‘Ha! I knew it.’ one that gets Cliff laughing too.

I didn’t go quite as planned.

At first when you showed up Rick tried to act like nothing had happened, he did his normal smooching. He offered you a drink and smiled that movie star smile at you all whilst not introducing you to his wife who stood in the background slightly confused at the odd ordeal.

You waved off his offer of a drink and went straight to the fridge plucking out a can of beer.

“You want one Francesca?” you had asked, she replied with a baffled ‘no’ before you plonked yourself down on the sofa making yourself right at home.

You truly wonder what Francesca Capucci thought at that very moment seeing a round young woman with a smile like Mama Cass and a the grace of Etta James all rolled up in pain stained dungarees and Dr. Martens boots.

One thing lead to another, you and Francesca became fast friends whilst Rick and Cliff went off for drinks, and now you're lounging on Rick’s sofa with Brandy’s head on your lap and Cliff offering you a LSD laced cigarette which he’s been smoking.

“Shit, things must be bad if you’re smoking near me?” you grumble as you pat Brandy’s head with a lazy hand, “Nothing was resolved so let’s get shit faced, because that always goes well.”

“At least you met Francesca.” Cliff mutters as his face turns all smiley as the drugs take effect.

“Hum, yeah, she’s real pretty ain’t she…” you ponder out loud as the front door gets kicked in.

You jump up slightly, Brandy not too bothered by the two greasy haired people clad in black who stand there trying to look menacing.

“Ahhhh, can I help you?” Cliff asks.

Another one appears all in black too, her face a pale sickly white, a knife in her hand.

And to think your day couldn’t get any worse because oh boy, it does.

One moment you’re complaining to Cliff about your idiot brother with Brandy on your lap trying to cheer you up, the next thing you know you have a gun aimed at your face by the ‘horsey’ guy and Francesca only in her underwear being forced out into the living room by the redhead.

Thank fuck Cliff is both level headed and slightly crazy at the same time because one moment he’s laughing like a clown and the next Brandy is attacking the fuckers which gives you a bit of time to move out the way of the gun.

It’s when this so called Tex starts hitting Brandy do you snap out you little panicked trace (having a gun aimed at you does that to a person) do you leap over the sofa and begin punching him square in the face, your body holding him down so he can’t kick his way out of it, Brandy still mauling his arm like it was a tug rope.

By the time Cliff has thrown the can at the face of the pale woman, knocking her straight down and breaking her little white nose, you’re fully on top of Tex trying to knock him out.

Now, you were never the best puncher, when you were fourteen you punched a bully who was teasing you about your weight only to breaking your thumb in the process, by my gosh is the adrenaline kicking in has you trying to knock out Tex.

The frightened screams of Francesca in the background spurs you on, the fear of the nice (and very attractive) woman getting hurt making you see red.

Maybe you’ll unpack your childlike crush on the starlet along with the ongoing feud with your brother later on when you’re not trying to wrestle a grown man (said grown man who’s now getting his balls bit by Brandy.)

(Brandy will defiantly get all the treats and cuddles later on.)

“CLIFF! DO SOMETHING YOU DUMB BITCH!” you scream as Tex punches at you, some hits missing but most slamming right into your soft sides.

Doing something Cliff clicks his fingers and Brandy is off mauling Samara. At the same time Tex pushes you off him and charges at Cliff like an angry bull, one eye already going black from you repeated punches.

It’s all a fucking shambles all culminating in you climbing through a smashed window to see your dear brother Rick using his fucking flamethrower to burn the pale bitch like he was finishing crème brulee with a blow torch.

How fun.

“Rick! Be careful!” you try to scream but it only comes out as a pain filled gabble, “Rick.”

Your last call of ‘Rick’ sounds more like a sob than a word, your soft body in so much pain. Your face is stained with splatters of blood and trails of big fat tears which when Rick sees he scrambles to take off his flamethrower (safely of course) to run over to you and engulf you in the biggest of hugs.

Your cries of your brother’s name as you break down and cling onto him cause the older man to start crying ugly tears, ones that are louder that your own sobs.

“I’m sorry Rick.” you sniffle out.

“I’m sorry too-“ he lays a kiss on your hair and starts rocking you side to side in the tight hug like he used to do when you were little and had a nightmare, “I’ve been ignoring you and I didn’t tell you about Francesca.”

“I’m sorry too for ignoring you as well.”

“I’m sorry for being so mean-“

For the next ten mites the two of you prattle off many apologises, too many really, so much so that when the red and blue flashing lights of emergency services clouds your blurry vision and paramedics try to pry you away from Rick you’re both still apologising.

#once upon a time in hollywood #once upon a time... in hollywood #once upon a time in hollywood x reader #rick dalton #rick dalton x reader #cliff booth #cliff booth x reader #x platonic reader #x plus size reader #plus size reader #chubby reader #x chubby reader #x sister reader #platonic rick dalton x reader #platonic cliff booth x reader

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ozdeg · 1 month

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#Once Upon a Time... in Hollywood #Volt egyszer egy... Hollywood #2019 #Quentin Tarantino #2024/093

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luckypluckychair · 6 months

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Once Upon a Time...in Hollywood | 2019 | China - UK - USA

Director: Quentin Tarantino

Production designer: Barbara Ling / Set decorator: Nancy Haigh

#once upon a time... in hollywood #margot robbie #brad pitt #leonardo dicaprio #quentin tarantino #production design #set design #interior design #interior and films #architecture #films #film frames #cinema #cinematography #2010s movies #2010s

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vincentb95 · 5 months

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#once upon a time... in hollywood #quentin tarantino

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moontryall · 2 years

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m0r0n-tv · 4 months

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HE'S JAKE CAHILL

#rick dalton #once upon a time... in hollywood #leonardo dicaprio

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guillotineman · 1 year

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Tarantino

#Quentin Tarantino #Tarantino #director #filmmaker #auteur #Pulp Fiction #Jackie Brown #Kill Bill #Death Proof #Inglourious Basterds #Django Unchained #The Hateful Eight #Once Upon a Time... in Hollywood #movies #filmography #cinema

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saintlopezlov3r · 2 years

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Sharon Tate🎬

Once Upon a Time in… Hollywood

#sharon tate #icons #4 #movie #margot robbie #once upon a time... in hollywood

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asrealasadonut · 2 years

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“Im as real as a donut mother fucker!”

#austin butler #elvis 2022 #once upon a time... in hollywood

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caniaskyouabouttoday · 9 months

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I Am Heavy, But He’s My Brother

“Is that how would describe your job, Cliff, carrying his load?”

“Yeah, that’s about right.”

Once Upon a Time…in Hollywood is a special movie to me for a lot of reasons but what I love so deeply and sincerely about this movie is the way it portrays friendship between men with such an authentic, heartfelt earnestness.

I have been blessed and cursed with a lot of things in my life but one of the biggest blessings of my life has been deep and meaningful friendships with the men who I choose as my brothers. I say choose as brothers because my brother by blood destroyed my family and broke my heart. That was almost four years ago and things have never been the same. It wasn’t too long after this film came out but the tracks were certainly being laid down.

This vague double entendre joke is made by an interviewer at the expense of one Cliff Booth (Brad Pitt) because he finds nothing about his friendship, loyalty, or even second banana status behind waning television star Rick Dalton (Leonardo DiCaprio) uncomfortable or humiliating. He’s proud to be his friend and has a stoic’s embrace of his role.

Dalton for his part is an insecure alcoholic wreck who desperately relies on Cliff, not just for rides but affirmation, confidence, and love. Even when his flagging career takes him to Italy to make “Eye-Italian” westerns and he finds a wife; he relies on Cliff’s love to a very real and serious extent.

It’s a testament to Tarantino’s skill as a director that he was able to get these two megastars to completely bury their egos and be so giving and vulnerable to each other to tell the story of their lives. They feel like very real people, with very real problems that I would like to have a margarita with…even though there is a chance Cliff mayyyy have killed his nagging wife. I love who these two are for each other. As men we have a responsibility to our friends to care this much.

I have a friendship; and I hope that is never past tense that was this kind of brotherhood. There are elements of both Rick and Cliff to us respectively even if we may not look like these two. 17 years ago I met a man I could not love any more and I still do; and I think if I weren’t comfortably heterosexual I could never say that because I simply do not feel love like that in my romantic relationships.

We were a country mouse and city mouse, we had different socioeconomic and family situations, we were opposites on paper and completely the same in our hearts. Bonded over our obsessive lifelong love of professional wrestling, our off kilter senses of humor, and the decency, kindness, and respect we showed each other. It’s the only friendship of my life where I had never had a fight or disagreement. I’m not easy to get along with, and I’m completely estranged from my biological brother. I’ve had some friendships that long wither and crumble under the pressure of the years. But not this one, he’s a married family man but I know outside of his family and his mother and sister nobody could love him more than I do.

I’ve been through a real rough patch of the last four years. A lot of my woes self inflicted, some external. I’ve been out of work for months for the second time in three years. I’m hurting. Financially, emotionally, and spiritually.

I had an opportunity to go to an event I would have loved to have had him go to with me. It could have been something we never forgot. There was an opportunity that would let me go but not him, and I took it. I thought I could find a way to get a sign with his name on television and let him know he was there with me in my heart.

It hurt him badly; and I apologized. And I meant it. I am not sorry for going. I need to live my life forward. But hurting him hurt me, I am sorry for that. So deeply, so sincerely. If there was any way to physically include him I would have and he has to know that. I said I’m sorry and plead my case.

Since then there has been almost two weeks of radio silence between us. I am not going to add, I am not going to prod. If he wants to forgive me for how he feels I wronged him he will need to find that but damn it hurts. It hurts a lot. I love him and miss him and I can’t do this all by myself. I need my brother to carry the load, and when the shoe is on the other foot I will too. I have before and will again.

This movie presents an alternate history where the good times of a golden era continue to roll instead of ending in tragedy and heartbreak. The 2020s have been a brutal, cruel decade. A completely miserable time of plague and famine in every sense.

I turn 38 in 8 days, and frankly, all I want to do is get silly drunk and laugh my ass off and share a hug with the man I love as much as I ever could love another person. He won’t be able to see this post, but I hope he feels it’s in the universe and knows how I feel.

“When you come to the end of the line with a buddy who is more than a brother and less than a wife, getting blind drunk together is the only way to say farewell.”

Unlike the bittersweet ending of Rick and Cliff’s beautiful friendship, I pray this is not farewell after all these years.

#once upon a time... in hollywood #tarantino movies #quentin tarantino #brad pitt #leonardo dicaprio

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