Movie Review: "Once Upon a Time in Hollywood"

There is a scene in the early stages of Quentin Tarantino’s “Once Upon a Time in Hollywood” where Hollywood stuntman Cliff Booth (Brad Pitt) is repairing a damaged rooftop TV antenna for television star — and his best friend — Rick Dalton (Leonardo DiCaprio). 

Like many of the moments in “Once Upon a Time in Hollywood,” the sequence involving the TV antenna is fairly inconsequential to the movie’s plot (some have argued the movie has no discernible plot), but it does allow for a fun flashback of Booth sparring with Bruce Lee on the set of “The Green Hornet.” 

It also symbolizes what this movie is all about — Tarantino’s unbridled nostalgia for an analog life lived outside the ether. In particular, the world of Hollywood in the late 1960s. 

I must admit, there are many times I’d like to live in a world as seen through the rearview mirror of a 1966 Cadillac DeVille. 

The movie’s primary focus is on the friendship between Booth and Dalton. 

Both men represent an era in entertainment that has changed by the time 1969 rolls around. 

Dalton is something of a has-been actor in the showbiz world. He is the former lead in the TV western “Bounty Law,” but has been relegated to guest star stints as the “heavy” in various TV series like “The F.B.I.” (there is a neat little sequence where Booth and Dalton watch the show, which was a real series that aired on ABC from 1965 to 1974). 

It’s no secret that Tarantino is something of a method writer/director. He even wrote five episodes of the fictional “Bounty Law” series so DiCaprio would know what the show is all about. 

Dalton has a lot of doubts about his future as a leading man in Hollywood. It is even suggested to Dalton that too much time spent playing “heavies” (villains) will cause the public (and entertainment industry) to forget his heroic persona built during “Bounty Law’s” run. 

DiCaprio brings a sincerity to the role of an aging Hollywood star from a bygone era. You really sense the character’s lack of confidence — not quite on the verge of a nervous breakdown, but veering that direction. 

It sounds like Dalton’s mental anguish might’ve been inspired by actor Pete Duel, who starred on 1960s series like “Gidget,” and committed suicide during his stint on the western “Alias Smith and Jones” (according to an interview with Tarantino and DiCaprio by “Vanity Fair”).

Most of Dalton’s self-doubt is played out during a guest stint on the western “Lancer.” 

It is during this sequence that the audience is treated to one of the best scenes in “Once Upon a Time in Hollywood.” 

Dalton (in hippy-influenced makeup and western regalia) strikes up a conversation with his 9-year-old co-star Trudi (Julia Butters) who plays Maribella on “Lancer.”

The exchange between Dalton and the precocious Trudi (as the two are reading books) is terrific. She talks about the fact that actors won’t succeed 100% of the time, but “it’s the pursuit that’s meaningful.”

Tarantino’s movies are known for this sort of gentle conversation — small moments that tie together his films and make the whole greater than the sum of its parts. 

One of Tarantino’s best movie conversations took place with Vincent Vega (John Travolta) and Mia Wallace (Uma Thurman) in 1994’s “Pulp Fiction” over dinner at Jack Rabbit Slims. 

While the exchange between Dalton and Trudi doesn't achieve that level, it is an example of Tarantino’s keen ability to write conversations. 

The other main plot thread involves Sharon Tate, an up-and-coming actress who lives next door to Dalton. Tate is a real-life star (married to hot young director Roman Polanski during the events of “Once Upon a Time in Hollywood.”)

Dalton ponders the notion that his neighbors could help change the trajectory of his flagging career, hoping his next break is “one pool party away.” 

Tate is portrayed by Margot Robbie, and she is really lovely in the role. Unfortunately, her character isn’t given a lot to do. Part of me wonders if Tarantino pulled back out of respect for the late actress’s family. 

For those who don’t know, the real-life Sharon Tate was murdered in her home by members of the Manson Family in 1969. 

Charles Manson (Damon Herriman) shows up at the Tate house early in the film, looking for a record producer. 

There is another sequence where Booth picks up a hitchhiker (Margaret Qualley) and drives her to the Spahn Ranch — where the fictional “Bounty Law” was filmed, and where the Manson Family resides during the events of the movie.  

Ultimately, the narrative threads involving Manson and Tate aren’t particularly intriguing or well developed. Quite honestly, most of those plot points weren’t terribly germane to the overall plot. 

Therein lies the biggest flaw in “Once Upon a Time in Hollywood.” The movie feels bloated and over done. It’s a problem that also plagued Tarantino’s “The Hateful Eight.”

“Once Upon a Time in Hollywood” can also feel rather self-indulgent (for example, there were a number of sequences featuring characters driving around that seemingly served no purpose). 

If the movie had been 30 minutes shorter, it had the potential to be Tarantino’s best. 

There is a sequence at the Playboy Mansion that seems to serve little purpose other than showing how well Damian Lewis can play Steve McQueen. There are also certain scenes that felt like an excuse for Tarantino to give roles to his friends (including a husband-wife pair played by “Death Proof’s” Kurt Russell and Zoe Bell). 

That said, for those who are patient, the last 20 minutes of the movie has a pretty terrific payoff (and is pretty hilarious). 

I should note that the film has a beautiful production design. 

There are all sorts of pop culture cues strewn throughout, including a mural from the movie “Giant” (one of my dad’s favorite movies; I remember watching the double-VHS version with him when it was first released on home video). 

As the movie progressed, Dalton ends up overseas starring in “Spaghetti Westerns” (films that heavily influenced Tarantino’s films) and one of the movies he stars in is called “Nebraska Jim” (I’d love to have a poster for that fictional movie in my collection). 

Only Quentin Tarantino could find a way to toss in a mention of former NFL quarterback Joe Namath’s biker gang movie “C.C. & Company.” 

There are references to Tarantino’s fictional “Red Apple” brand cigarettes, a brand featured in a number of his films (be sure to stay through the end credits for a fun bit involving Rick Dalton with the cigarettes). 

“Once Upon a Time in Hollywood” is a mixed bag. While I thought the film was bloated — and would have benefitted from some judicious editing — there were a number of sequences I really enjoyed. And the 1960s vibe was terrific. 

In my mind, the focus of the film should have stayed on Dalton and Booth. 

I think Tarantino is generally given too much latitude when crafting movies. While I appreciate his enthusiasm for the material (and his former-video-store-clerk-fanboy sensibility) he has a problem self-editing — something seen all-too-often in his recent films. 

Less is more. Sometimes it’s better to employ a flamethrower in the editing room and come out with a taut, compelling narrative. 

Tarantino has talked about retiring after ten movies. “Once Upon a Time in Hollywood” is his ninth. 

He has written a script for a “Star Trek” film. I’d like to see the director take a break from his typical meme, and lend his talents to a popular sci-fi franchise.

Sometimes the best films are born when filmmakers step out of their comfort zone and try something different. Such a move might give Tarantino's films a fresh veneer. 

If it can work for Rick Dalton, it can work for Quentin Tarantino. He’s just one pool party away... 

Previous post: Movie Review: "Spider-Man: Far From Home" 

Movie Review: “Spider-Man: Far From Home”

“Uneasy lies the head that wears the crown.” — Nick Fury, “Spider-Man: Far From Home”

I’ve been wondering lately how the vaunted Marvel Cinematic Universe will fare now that “Avengers: Endgame” majestically wrapped up a decade’s worth of superhero movies in a neat, heroic bow. (Spoiler alert: If you haven’t seen Endgame, see it, then come back and read this.)

With “Spider-Man: Far From Home” spinning a web at the box office, the future of the MCU starts to take shape. 

I really enjoyed the first Tom Holland-led Spidey movie when “Spider-Man: Homecoming” debuted in theaters two summers ago. In my review of that movie I wrote, “it was nice to see something that had the tone and heft of pink bubblegum.”

My enjoyment of “Homecoming” left me with fairly high expectations going into the latest web-slinging adventure featuring “our friendly neighborhood Spider-Man.”

This time out, Queens teen Peter Parker (Tom Holland) and a group of his classmates from Midtown School of Science and Technology are headed to Europe on a summer trip. 

“Spider-Man: Far From Home” takes place after the events in “Avengers: Endgame,” so the school had to restart its academic year to accommodate the students who “blipped” (a term the students use to refer to students who disappeared during the events of “Avengers: Infinity War.”)

Those who “blipped” are the same age. Those who didn’t are five years older. 

Parker longs for a return to normalcy after his heroics in the two most recent “Avengers” movies. 

He hopes the class trip will allow for a much-needed break, and present an opportunity to further his relationship with classmate MJ (Zendaya). He doesn’t even want to bring his Spidey suit along, and has been “ghosting” calls from Nick Fury. 

Unfortunately for Peter, the class trip experiences an attack by a water creature (an “Earth Elemental”) while they are visiting Venice, Italy.

Peter — sans Spidey suit — leaps into action, and meets a new superhero wearing an outfit that looks like it jumped out of Thor’s Asgard — with a helmet that’s a cross between a crystal ball and a snow globe. 

The students are stunned, but impressed, with the mystery hero. As classmate Brad (Remy Hii) declares, “he’s kicking that water’s ass.”

Our webbed crusader soon finds himself back in the S.H.I.E.L.D. fold — working with Agent Nick Fury (Samuel L. Jackson), Agent Maria Hill (Cobie Smulders) and the new superhero whose name is Quentin Beck (Jake Gyllenhaal) — dubbed “Mysterio” by Peter’s classmates as a result of an Italian media reference. 

Beck claims to be from an alternate reality, suggesting there are multiple parallel universes.

Before we know it, Peter and his friends are twisting around Europe (S.H.I.E.L.D. starts to influence the group’s itinerary) so Spider-Man can help thwart the threat of other Elementals wreaking havoc.

Things aren’t as they seem, though, and there are some pretty decent twists and surprises in “Spider-Man: Far From Home.” 

Peter has to come to terms with his role as a superhero, his relationships with his friends, and his desire to move forward after the loss of mentor Tony Stark in “Avengers: Endgame.”

Peter laments, “I didn’t think I was gonna have to save the world this summer.” 

“Spider-Man: Far From Home” is far from perfect, but I had a terrific time watching it. 

I started writing this review on July 2 (when I first saw the movie). In the intervening days, I’ve seen the movie two additional times. I’ve enjoyed it more on subsequent viewings.  

“Far From Home” is directed by Jon Watts (who directed “Homecoming”). 

There are some uneven moments in this latest Spider-Man adventure, and I thought Gyllenhaal’s role could have been developed a bit better. 

The Quentin Beck character is pretty interesting. It’s kind of a shame they weren’t able to integrate Beck into earlier MCU movies as a bit player. If they had, I think his character’s arc could have developed in a “slow burn” fashion leading up to “Spider-Man: Far From Home,” giving “Mysterio” greater depth.  

Marvel also seems committed to the “Iron Spider” concept of making Parker the heir apparent to Tony Stark. We are treated to more scenes between Happy Hogan (Jon Favreau) and Parker in “Far From Home,” including questions about Hogan’s feelings for Peter’s Aunt May (Marisa Tomei). 

(I really like the wit Favreau brings to the role. I think he’s a grounding force in “Spider-Man: Far From Home.”)

Peter’s friend and sidekick Ned (Jacob Batalon) is another bright spot in the film. His charm and affable demeanor adds dimension to Parker’s. The character’s role in the story is something akin to Luis (Michael Peña) in the “Ant-Man” movies. 

Overall, I had a fun time watching this movie. 

It was a smart move for Sony and Disney to finally find a way to integrate this character into the Marvel Cinematic Universe (after the Sony’s “unconnected” Spider-Man films starring Tobey Maguire and Alex Garfield). 

One of the little moments I enjoyed in “Spider-Man: Far From Home” is a sequence where Parker is presented with a gift from the late Tony Stark (there are monuments, shrines, and tribute videos dedicated to the character strewn throughout this movie). 

The stylish sunglasses serve as an “AR tactical intelligence system,” allowing our hero to connect to a digital assistant named E.D.I.T.H. The acronym stands for “Even Dead I’m The Hero.” 

In a cinematic universe where things are not always as they seem, I still believe we haven’t seen the last of Mr. Stark. 

“Spider-Man: Far From Home” is the cinematic equivalent of chasing down a bag of Doritos with a cold can of Mountain Dew. It might not be fancy cuisine, but it sure tastes good. 

P.S. — Be sure to stay through the ENTIRE end credit scroll. You know the drill — all the way to the end. There are some “easter eggs” that have a pretty significant bearing on the events in “Spider-Man: Far From Home” — and upcoming films in the MCU. 

Previous post: Book Review: "True Believer" By Jack Carr 

Book Review: “True Believer” By Jack Carr

By Jon Brooks 

“Take a breath, look around, make a call.”

One of my favorite books of 2018 was former Navy SEAL sniper Jack Carr’s debut novel “The Terminal List.” In my review, I referred to the book as “a story that stings the throat and clears the sinuses — bold, brutal, and unwavering.” 

I had the distinct honor of being able to read an Advance Reader's Edition of his latest thriller “True Believer” (on sale July 30, 2019). 

Carr continues his hero’s journey in “True Believer.”

Former Navy SEAL James Reece is back in action. 

“True Believer” begins with our protagonist in the aftermath of the events in “The Terminal List.” Having satiated his need for revenge, Lieutenant Commander Reece is sailing across the Atlantic Ocean on a 48-foot yacht called Bitter Harvest (which he procured in the first novel). 

Reece is still haunted by the tragic events that befell his wife Lauren and daughter Lucy in the first book. He lives a rudderless existence — waiting to succumb to a brain tumor discovered in “The Terminal List.” 

He is also a wanted man.

But sometimes fate has a way of changing course. 

Reece sails to the coast of Mozambique. Richard Hastings — the uncle of Reece’s SEAL brother and former college classmate Raife Hastings — runs a safari operation called RH Safaris in the Niassa Game Reserve.

Reece ends up helping out the operation, putting his military skills to use tracking down poachers. The work gives our hero a sense of purpose. 

During these sequences the author serves up interesting factoids about the Rhodesian Bush War as well as modern-day geopolitics influencing east Africa. 

(I also enjoyed Carr's references to Toyota Land Cruisers — vehicles the author and his protagonist both love.)

While Reece is living under the radar, a series of terror attacks put the intelligence community on high alert. 

Carr’s attention to detail in the novel is excellent, and his life as a former special operator lends authenticity to the story. 

James Reece isn’t able to stay incognito forever, and is eventually rousted from Mozambique.

He soon finds himself in the employ of the U.S. government. His past connection with intelligence asset Mo Farooq — who is suspected of being behind the attacks — puts our hero back in the game. 

As you can imagine, things aren’t quite what they seem. A whole host of players — including an ambitious Russian named Vasili Andrenov — are moved deftly around the chessboard by Carr.

Carr’s globetrotting adventure has a flavor similar to thriller masters like Brad Thor and Vince Flynn. 

For those who enjoyed the author’s intricate descriptions of weaponry in “The Terminal List,” ample attention is paid to the “tools of the trade” in “True Believer.”

The story is also well researched. 

Once again, Carr includes “redacted” passages (blacked out words) in “True Believer” that the DOD Office of Prepublication and Security Review flagged (due to the security clearances the author held when he was a Navy SEAL). It is something unique to Carr’s fiction thrillers, and adds to the authenticity. 

The early parts of “True Believer” are reminiscent of Tom Clancy novels of yore — with multiple story threads twisting between time and place from England, Mozambique, Belgium, Switzerland, Nicaragua, and Washington D.C. 

Carr talks about his writing process (and how he got published) in a recent episode of the “Jocko Podcast”:

The podcast — which clocks in at nearly two-and-a-half hours — features a wide-range of topics with the author. 

Carr talks about how he had seven different novel synopses before he picked one and wrote “The Terminal List.” 

He says the other synopses are “turning into these next novels, even though I might have different characters or whatever, I can morph those ones. So I have about seven different novels in the pipe, ready to go.”

As I listened to the podcast, I realized just how many of Carr’s real life experiences (personal and professional) are woven into “True Believer.” Give it a listen — it’s well worth your time. 

“True Believer” is more cerebral than “The Terminal List,” and Carr pours a fine foundation for more James Reece thrillers in the future. 

Reece comes to terms with his past and evolves into a more nuanced hero. He is a well-oiled operator — locked, loaded and ready for action. 

The little moments are some of the best in the novel. For example, there is a sequence at the beginning of Chapter 37 that reminded me of Thomas Magnum recalling childhood memories with his father in the 1983 “Magnum, P.I.” episode “Home From Sea.”

“True Believer” helps establish Jack Carr as one of this generation’s preeminent thriller writers. 

Highly recommended. 

Order your copy of "True Believer" here.

P.S. — Be sure to read the “Glossary” section at the end of Carr’s novels. In addition to providing interesting bits of trivia, he throws in some humorous remarks. 

>> If you enjoyed my review of Jack Carr’s “True Believer,” be sure to follow me on Twitter/X – @TheJonCrunch

Related blog posts on Jack Carr: 

> Book Review: Jack Carr’s “The Devil’s Hand” is an Infectious Thriller 

> TV Review: Pratt’s Performance Elevates Visceral “The Terminal List” 

> Book Review: “The Terminal List” By Jack Carr 

> Book Review: Jack Carr’s “Savage Son” is a Modern Thriller With Retro Flair 

Previous post: “Movie Review: ‘Toy Story 4’”

Movie Review: “Toy Story 4”

Can you believe it’s been nearly 24 years since the first “Toy Story” movie debuted in theaters?

For me, that’s just about half a lifetime ago. 

The 1995 original single-handedly changed the way animated movies were made. It’s hard to imagine a time when computer-animated movies didn’t rule the box office. 

“Toy Story 4” sees Pixar giving fans a movie that nods back at the original while posing philosophical questions about the future of our favorite CG toys. 

The animation is lovely (with a depth Pixar could only dream of in the 1990s).

When viewers saw the third “Toy Story” outing in 2010, things seemed to be wrapped up in a nice bow. Andy — the toys’ kid since the first movie — was headed off the college at the end of “3.” He gifted his toys to a tike named Bonnie (Madeleine McGraw) in an incredibly touching finale involving our playtime protagonists.

The toys came full circle in that movie — proving that playthings never die, but live on forever as a tradition passed down from generation to generation. 

Since the “Toy Story” series seems to be universally beloved, it stood to reason that parent company Disney would open up the toy box one more time. 

“Toy Story 4” starts off with a flashback (nine years prior) showing how Bo Peep (Annie Potts) disappeared from Andy and his little sister Molly’s toy collection between the second and third installments of the series.

The narrative then shifts to two years after the events of “Toy Story 3.” The toys are ensconced in a new routine with Bonnie. As the movie begins, Bonnie is headed off to kindergarten orientation (we called it “kindergarten roundup” in my day). 

But things aren’t idyllic for cowboy doll Woody (Tom Hanks). He’s lost favor with Bonnie, and finds himself increasingly left behind in the closet when she plays with her toys. She even removes Woody’s sheriff badge and pins it on cowgirl counterpart Jessie (Joan Cusack). 

Despite the snubs, Woody is dedicated to the child and her well-being. When Bonnie is reluctant to go to kindergarten orientation, he hides in her backpack so he can watch over her at school. 

During orientation, Bonnie crafts together a friend she calls Forky (Tony Hale) — a toy she made from a spork, pipe cleaner, and plastic bubble eyes (items repurposed from a trash can). 

I will admit I was worried about the likability of the spork character when I saw the trailers for “Toy Story 4.” That said, it was funny to watch the character — who continually tries to throw himself in the nearest wastebasket — deal with accepting his repurposed identity in the world. 

Keeping Forky from jumping over the edge also gives Woody something of a newfound purpose in Bonnie’s world. 

Bonnie and her family take an RV trip during the week between orientation and the start of kindergarten. 

It is during one of Woody’s attempts to protect Forky when the two fall out of the RV as it is travels down the highway. The pair soon find themselves on an unexpected adventure that takes them to an antique store, a carnival, and a surprise reunion with Bo Peep. 

All the while, Woody tries to find a way to get back to the RV, Bonnie, and his fellow toys. 

The new characters introduced in “Toy Story 4” are pretty well drawn. Baby doll Gabby Gabby (Christina Hendricks) is one of the better antagonists we’ve seen in the series. At her side are bizarre ventriloquist doll henchmen named “Benson” (my nephew bought one of the Benson toys a few weeks ago). 

Many of you will remember the Combat Carl doll featured in 1995’s “Toy Story” (a play on G.I. Joe dolls of the 1960s and 70s). In this movie we learn that Combat Carl has become a team of smaller action figures (something mirroring G.I. Joe’s transformation in the early 1980s).

The carnival stuffed animals voiced by Keegan-Michael Key and Jordan Peele are enjoyable and add some needed comic relief to the relatively melancholy proceedings. 

I also enjoyed the Canadian stuntman motorcycle driver toy Duke Caboom (Keanu Reeves).

The movie explores what it means to be a toy and psychological underpinnings of experiencing the love of a child. 

“Toy Story 4” is directed by Josh Cooley. This was his first time directing a feature film (he previously directed two animated shorts for Pixar and worked on the screenplay for “Inside Out”).

I had a good time with “Toy Story 4.” The inevitable question people will ask is whether this is as good as the other “Toy Story” films, or if it is the best film in the series. 

Some of you will recall from my previous blog posts about the teaser and theatrical trailers for “Toy Story 4” that I was somewhat worried about the movie. 

Thankfully, I was pleasantly surprised by “Toy Story 4.” The emotional beats were both unpredictable and satisfying. When I saw the trailers, I was concerned the story would be over-the-top manipulative, but the writers struck a nice balance. 

This movie is definitely Woody’s story. Sadly, Buzz Lightyear (Tim Allen) is more of a supporting player in this film. 

The “Toy Story” franchise has been consistently solid since its humble beginnings. As a result, it is difficult for me to pick a favorite in the series. Most people I know have differing views on that topic, and I think that’s a testament to the characters and universe John Lasseter created. 

I had a really good time watching “Toy Story 4.” I think you’ll enjoy it, too. 

P.S. — Be sure to stay through ALL the end credits. There is a clever “easter egg” involving the Pixar title card you won’t want to miss!

>> If you enjoyed my review of “Toy Story 4,” follow me on X/Twitter — @TheJonCrunch 

Previous post: “Book Review: Chip Davis’s ‘The Wolf and the Warlander’ Trilogy”