Mark Sabalauskas

In other words, the type of tale we least need. Apart from, possibly, lit fic about a middle-aged professor having a midlife crisis and sleeping with a student.

 

And yet…  is there anyone better at conjuring pop culture to summon stylish surfaces?
 

Tarantino perfectly recreates the look of mainstream media from 1969, but his obvious affection can’t mask what a dead end the era’s westerns, war movies, cop shows, and comedies were. We note the care he takes, but can’t help but laugh at what he cares for.
 

Many boomers, no doubt, will eat this stuff up. After all, it’s been days since the anniversary coverage of the moon landing, and they’ll be hungry to have their youth centered again.

 

But the nostalgia is underpinned by well crafted characters. Rick Dalton (Leonardo DiCaprio) a fading star and his BBF/stunt double Cliff Booth (Brad Pitt) struggle to stay relevant in an industry looking to extract the last value from their careers, and they navigate a city and society changing around them. Their lives contrast with Rick’s neighbor Sharon Tate (Margot Robbie), a golden demigoddess effortlessly and appealingly enjoying her rise as an actress.  All complicated, of course, by our knowledge that Sharon Tate was killed in a horrific crime at the end of the year. All three performances are exceptional, and the 161-minute run time never drags.

 

The climax is unexpected yet inevitable.  Even if you enjoy the rest of the film, you may bounce off here. As for myself, it seemed entirely in keeping with interests and agenda of the rest of the movie.