The Following Article contains massive spoilers to “Once Upon a Time… in Hollywood.”
In 1969, America was forever rocked by the vicious Tate-LaBianca murders which saw the Charles Manson family convicted for murdering five people including up and coming actress Sharon Tate. Decades later, Hollywood and many artists are still considerably fascinated not just by Charles Manson, but the Manson Family. On the anniversary of Sharon Tate’s murder, a lot of Hollywood jumped on the band wagon to find a way to highlight or explore the events leading up to her terrible murder. Except for Quentin Tarantino. “Once Upon a Time in Hollywood” has managed to become yet another Tarantino masterpiece that has sparked endless discussion and arguments.
Despite the fact that Tarantino stages another alternate reality where the bad guys endured horrible deaths, “Once Upon a Time…” still managed to get approval from Sharon Tate’s family. And that’s probably because, refreshingly, Tarantino takes the piss out of Charles Manson and the Manson Family.
Quentin Tarantino has always been a connoisseur of Hollywood and the concept of filmmaking and storytelling. There’s a certain peculiar magic that comes with creating a narrative and how it allows the creator to do whatever they want. With all of Tarantino’s movies, he’s paid tribute to ideas like Chopsocky cinema, gangster pictures, blaxploitation, and with “Once Upon a Time… in Hollywood” he pays tribute to Hollywood and the one and only Sharon Tate.
There’s an embarrassment of riches in the new set from Shout! Factory that manages to combine all of “The Fly” films in to a rich anthology. It’s a great opportunity to expose new fans to the classic monster movies and contemporary versions of George Langelaam’s original short story. This series and “The Thing” share a lot in common, as both are short stories adapted in to two vastly different versions by genius artists. Meanwhile the contemporary versions’ drastic re-imaginings are still considered iconic cinematic horror and science fiction that set a high bar.
At this point I’m just glad that the new “It” adaptation didn’t get split in to a trilogy. “It Chapter One” was great just as it was, I thought “Chapter Two” needed to be the book end. Thankfully it truly is the finale I was hoping for as a poignant, complex, and heartbreaking film about the horrors of the past, and trying to prevent the nightmares of our childhood from deciding who we are and can become as adults. Once “The Losers Club” is forced back in to Derry Maine, they have no choice but to confront their own personal monsters before fighting the physical manifestation of their demons known as Pennywise.
John Frankenheimer’s survival horror film came in the midst of horror films that often preached something about conservation or the risks of pollution which would inevitably spawn some kind of monster in nature. Films like “Piranha” and “Orca” were all common place, and “Prophecy” is one of the many of its ilk. While it’s not exactly a great movie, “Prophecy” is a good enough man vs nature horror film about pollution and the fall out from corporate greed and irresponsibility.
Johannes Roberts’ “47 Meters Down: Uncaged” is a real testament to the concept of the score and how a great score can often help enhance a movie going experience. A lot of times the score can even become its own character. “Uncaged” has a score that genuinely stinks with a droning blaring bass that sounds more like library music than anything else. And that’s when there is a score since inexplicably, only about twenty percent of the movie’s run time has an actual score. The rest is complete silence that punctuates this absolutely awful sequel.