Highbrow Magazine - once upon a time in hollywood https://www.highbrowmagazine.com/once-upon-time-hollywood en A Look at Hyperviolence in Media https://www.highbrowmagazine.com/23997-look-hyperviolence-media <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/media" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Media</a></div></div></div><span class="submitted-by">Submitted by tara on Thu, 05/25/2023 - 14:46</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1violence.jpg?itok=9-_G9TQj"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1violence.jpg?itok=9-_G9TQj" width="480" height="270" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Opinion:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">“Rip and Tear until it is done” is the opening line of 2016’s reboot of classic ‘90s first-person-shooter “<a href="https://www.imdb.com/title/tt1799527/" target="_blank">DOOM</a>”. The line is followed by a first-person cutscene of the player character, the Doomslayer, grabbing the head of a demonified scientist and slamming it into the sarcophagus the slayer was sealed in, the head instantly exploding like an overripe tomato. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">“DOOM” 2016 is a great example of what could be regrded as an increasing trend in hyperviolence used in media. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The use of violence in media has differing rhetorical purposes based on the context; however, generally speaking, gore and violence are rarely used to evoke positive emotions. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In horror and war films — two of the gorier genres — violence has the rhetorical purpose of fear and anxiety, or depicting the base brutality human nature can reach. There are some exceptions, such as comedic horror films, but even these films often don’t depict murder and death scenes themselves as comical. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">“DOOM,” however, contrasts in this way as one of the primary mechanics of the game called the “glory kill,” where players are rewarded for closing the distance with their opponents and performing brutal melee kills.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2violence.jpg" style="height:435px; width:652px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">These animations are cathartic and visceral and vary from ripping demons' jaws off, to ripping off arms and beating their former owners with them. In “DOOM,” the mutilation of living things is supposed to be fun and satisfying, and it is. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">This is what defines the increasing trend of hyperviolent media -- these depictions of violence are supposed to be enjoyed. They are designed to evoke so-called “positive” emotions.</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Videogames are not the only medium that have taken this tact. Films have been doing this to an increasing degree as well. A director most notorious for his use of gore is <a href="https://www.imdb.com/name/nm0000233/" target="_blank">Quentin Tarintino</a>, whose films serve as a perfect example of this use of violence. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">While Tarantino’s films take their stories seriously, they have an amount of wit and levity. Their spectacles of violence are, depending on the film, almost comical, and frequently play into power fantasy, a common aspect of violent videogames. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">One might even suggest many of Tarantino’s later films are historical revenge power fantasies, where audiences revel in seeing the brutalization of some of the world’s greatest monsters, like the Nazis in “<a href="https://www.imdb.com/title/tt0361748/" target="_blank">Inglourious Basterds</a>,” American slaveholders in “<a href="https://www.imdb.com/title/tt1853728/" target="_blank">Django Unchained</a>” and the Manson Murderers in “<a href="https://www.imdb.com/title/tt7131622/" target="_blank">Once Upon a Time in Hollywood</a>.”</span></span></p> <p><br />  </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3viiolence.jpg" style="height:318px; width:640px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Summing these up as simply power fantasy films is reductive, since the characters, plot and dialogue are executed so well. The component of historical “revenge” is an interesting theme in these films, even if not necessarily intended by Tarantino.</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">I would argue that the conclusion of “Once Upon a Time in Hollywood” is the best example of this revenge element, as the film's conclusion shows the brutal killing of the perpetrators of the Manson murders. Here the murderers are shown as aloof and almost comically stupid as they are murdered by <a href="https://www.imdb.com/name/nm0000093/" target="_blank">Brad Pitt’s</a> character Cliff Booth, as he is tripping on LSD. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">With the whole film largely being a love letter to the golden age of Hollywood, the violent conclusion seems like it is setting something right in its depiction of the past.</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">But how do you keep depictions of violence comical and fun? </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The common tool used is archetypes. Antagonists and humanoid things are a lot easier to watch die if they are made more generic, and less human. Some of the most common enemy archetypes have thus been demons, Nazis, and zombies.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4violence.jpg" style="height:440px; width:660px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">These generic antagonists are especially common in games as they have easily one of the highest body counts of all media. I’d be damned to try and count how many generic soldiers I shoot in any single “<a href="https://www.callofduty.com/uk/en" target="_blank">Call of Duty</a>” campaign.</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Countless videogames, films, and television series utilize this shorthand. Think of almost any piece of media set in World War II; the countless zombie films, games, and TV shows. Demons are admittedly less utilized outside of games; however, trade them in for generic “aliens” in Hollywood and you have a pretty close match.</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">We are then allowed to be happy to kill these “enemies,” and see them die in horrific ways because they are morally bankrupt. Demons are a manifestation of evil; the simple nature of their existence is amoral.</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Zombies may have once been human but no longer are, they are merely corpses barely puppeteered around by whatever inexplicable virus can control the function of rotting muscles.</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Nazis are the most identifiable because they ostensibly are human, but their ties to the brutal horrors of World War II make them almost symbolically equivalent to a demon, as they are morally corrupt and despicable. </span></span></p> <p><br />  </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5violence.jpg" style="height:650px; width:438px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Their lack of humanity is what helps create a disconnect that makes their violent, gory deaths not only seem like a good thing but pleasurable to watch. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">This is something a number of videogames have examined. “<a href="https://www.imdb.com/title/tt3110552/" target="_blank">Hotline Miami</a>” and “<a href="https://www.imdb.com/title/tt2233084/" target="_blank">Spec Ops: The Line</a>” are violent games that include a commentary on media violence in their story.</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Both games play off the idea that the player commits atrocities based on “filling in the blanks” of what they need to do to progress through the game. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">“Spec Ops: The Line,” for example, has a scene in which players are forced to use white phosphorus on enemies to progress. Enemies you later discover were holding civilians captive who were all killed in the attack. You are shown a gruesome image of a mother holding a child, their skin melted off by the chemical.</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Both games have intentionally unsatisfying conclusions that ask the player whether or not they were really the “good guy” or if they just assumed so because of the context they were presented.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6violence.jpg" style="height:650px; width:446px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">“Hotline Miami” directly interrogates the player in brief interludes between levels. The game stops just short of breaking the fourth wall, having characters ask your mute player character; “Do you like hurting other people?”</span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Media violence has been a topic of widespread debate for a long time especially in the context of games, with the original “<a href="https://www.imdb.com/title/tt0286598/" target="_blank">DOOM</a>” back in 1993, to the “<a href="https://www.rockstargames.com/games/gta" target="_blank">Grand Theft Auto</a>” and “Call of Duty” franchises. </span></span></p> <p><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Whether criticizing or embracing violence, this type of media asks a lot of philosophical questions about morality and violence. Is it wrong to find joy in seeing human heads explode, even if they’re zombies?</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Garrett Hartman is a contributing writer at</em> Highbrow Magazine.</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/hotline-miami" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">hotline miami</a></div><div class="field-item odd" rel="dc:subject"><a href="/call-duty" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">call of duty</a></div><div class="field-item even" rel="dc:subject"><a href="/doom" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">doom</a></div><div class="field-item odd" rel="dc:subject"><a href="/videogames" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">videogames</a></div><div class="field-item even" rel="dc:subject"><a href="/violent-videogames" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">violent videogames</a></div><div class="field-item odd" rel="dc:subject"><a href="/violent-films" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">violent films</a></div><div class="field-item even" rel="dc:subject"><a href="/quentin-tarantino" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">quentin tarantino</a></div><div class="field-item odd" rel="dc:subject"><a href="/once-upon-time-hollywood" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">once upon a time in hollywood</a></div><div class="field-item even" rel="dc:subject"><a href="/inglorius-basterds" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">inglorius basterds</a></div><div class="field-item odd" rel="dc:subject"><a href="/gory-films" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">gory films</a></div><div class="field-item even" rel="dc:subject"><a href="/gory-media" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">gory media</a></div><div class="field-item odd" rel="dc:subject"><a href="/violence-media" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">violence in media</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Garrett Hartman</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Thu, 25 May 2023 18:46:06 +0000 tara 11899 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/23997-look-hyperviolence-media#comments With the Best Picture Nominations, the Oscars Unleashed the Monsters’ Journey https://www.highbrowmagazine.com/10396-best-picture-nominations-oscars-unleashed-monsters-journey <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/film-tv" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Film &amp; TV</a></div></div></div><span class="submitted-by">Submitted by tara on Mon, 02/10/2020 - 07:14</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/2jokerfilm_0.jpg?itok=1mB6kfwb"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/2jokerfilm_0.jpg?itok=1mB6kfwb" width="480" height="270" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><strong>Opinion: </strong></p> <p> </p> <p>As a small child, I had a recurring nightmare that I was left behind in a parking lot as my parents and siblings walked away from me. But the nightmare always ended well, in that it ended, period. No nightmare we have while sleeping ever lasts longer than the time it takes us to wake up.</p> <p>We have living nightmares as well. We can look to the meat-grinder that killed millions of young men in World War I <strong>(1917)</strong>, the many who perished under Nazi Germany <strong>(Jojo Rabbit)</strong>, or any number of more personal murders throughout our history <strong>(Once Upon a Time in Hollywood) </strong>to remind us of this. And yet, we often can point to a specific event or moment in time to demonstrate how such nightmares were no more – we collectively wake ourselves up, so to speak.</p> <p>In examining the daunting reality we face every day, we consider the journey of the monster who perpetuates it. And when we consider the journey of this monster from beginning to end, we see how the nightmare unfolds.</p> <p>It’s common for us to see someone like a psychopath <strong>(Jojo Rabbit)</strong> or a sociopath <strong>(The Irishman) </strong>and trace their history back to a point or a series of points of trauma. Without this confluence of events, they may not have turned out to be as destructive as they are. They experience hardship at an early, tender time, and thus their worldview is tainted from then on.</p> <p>We see their harmless beginning, wherein the monster finds themselves fantasizing, perhaps “daydreaming” <strong>(Parasite)</strong> of a different reality than the one they face, having their expectations dashed <strong>(Marriage Story)</strong>, or experiencing the disappointment of a lost opportunity <strong>(Joker)</strong>.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1oscarsmonster.jpg" style="height:300px; width:600px" /></p> <p> </p> <p>We then see how they attempt to reconcile this gap in their world, be it using others for their own gain <strong>(Ford v. Ferrari) </strong>or destroying the things we love most <strong>(Little Women)</strong>. The monster then justifies these actions through their sense of lack <strong>(Parasite) </strong>or to protect those they love the most <strong>(The Irishman)</strong>.</p> <p>The monster’s journey enters a surprisingly menacing phase when their actions become normalized <strong>(1917)</strong>. They fit their actions into the standard way of things just enough to be perceived as someone merely misguided in their choices <strong>(Joker)</strong>, and when they’re rewarded with success, they reinforce their worldview moving forward <strong>(Ford v. Ferrari)</strong>. And thus, they tip into a reality from which there’s no coming back.</p> <p>To perpetuate this worldview, they begin to manipulate the situation to suit their agenda <strong>(The Irishman)</strong>, and they escalate their impact to the point of finally catching the attention of those around them and being labeled as the fiend they are <strong>(Joker)</strong>.</p> <p>And here is where the monster’s journey may diverge, as many live out their lives remaining in wholehearted devotion to the ideals that led to their destructive tendencies <strong>(Once Upon a Time in Hollywood)</strong>. Still, some monsters come to realize that they are the catalyst of the nightmare that consumes their life, they “feel like (they’re) in a dream,” <strong>(Marriage Story)</strong> and seek repentance for their past <strong>(Little Women)</strong>. But because of the nature of their actions, they often pay for it in incarceration <strong>(Joker)</strong> or perpetual isolation <strong>(The Irishman)</strong>.</p> <p>The impact of the monster’s journey reminds us of what’s at stake, be it the next generation of children who may continue the destructive cycle if they’re neglected <strong>(1917)</strong>, or choices that lead to an untimely demise <strong>(Parasite)</strong>. Without vigilance in fighting this monster, we risk enticing the darkest natures of others and creating the nightmare we so greatly fear.</p> <p>But how do we find that vigilance? How can we respond in a way other than pretending that the monstrosity didn’t take place <strong>(Once Upon a Time in Hollywood)</strong>?</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3oscarsmonster.jpg" style="height:338px; width:600px" /></p> <p> </p> <p>We see this darker tendency turn around in them when we help them avoid their decline in isolation <strong>(Little Women)</strong>. We have the conversations that will help them to feel connected to another and thus no longer in a spiral of their own suffering <strong>(Marriage Story)</strong>.</p> <p>We must show them how to lean into the differences they see in others not from a place of hate but rather curiosity <strong>(Jojo Rabbit)</strong>.</p> <p>We must help them to move forward, no matter the setbacks they’ve faced.</p> <p>As we study the monster’s journey, we’re shown how the nightmares we suffer through at their hands can come from a surprising place. Eventually, one of my family members did leave me, but not when I was a small child in a parking lot. My nightmare began only months ago when I lost my father to a medical error. I began seeing the word through a darker lens and felt more victimized by the little slights and humiliation that come with everyday life. But as I realized the nightmare I was about to enter, I chose connection over isolation, curiosity over hate.</p> <p>I came to understand the main point that prevented the nightmare before it started.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4oscarsmonster.jpg" style="height:400px; width:600px" /></p> <p> </p> <p>As we move forward in 2020, we are presented with one of the most destructive, polarizing realities we’ve faced in many decades. We are presented with political and economic choices that may determine whether we live out our lives in a nightmare or not.</p> <p>The Academy, through its nine best picture Oscar nominations, was trying to tell us that the nightmare is pending, and that it has a root cause.</p> <p>They may be trying to tell us that the cause is the monster that lurks in each of us.</p> <p> </p> <p><strong>Author Bio: </strong></p> <p><strong><em>Neil Gordon </em></strong><strong><em>is a communications expert focused on helping his clients attract a following using as compelling of a message as possible. His style has been described as “persuasion with heart,” and he has helped his clients double their speaking fees and secure appearances on TV shows like <em>Ellen </em>and <em>Dr. Oz</em>. Gordon formerly worked as an editor at </em></strong><strong>Penguin Random House<em> with </em>New York Times <em>bestselling authors and has been featured on </em>NBC Palm Springs<em>, </em>Forbes, Fortune<em>, and </em>Inc. Magazine.</strong></p> <p> </p> <p><strong>For Highbrow Magazine</strong></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/2020-oscars" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">2020 oscars</a></div><div class="field-item odd" rel="dc:subject"><a href="/academy-awards" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Academy Awards</a></div><div class="field-item even" rel="dc:subject"><a href="/parasite" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">parasite</a></div><div class="field-item odd" rel="dc:subject"><a href="/jojo-rabbit" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">jojo rabbit</a></div><div class="field-item even" rel="dc:subject"><a href="/once-upon-time-hollywood" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">once upon a time in hollywood</a></div><div class="field-item odd" rel="dc:subject"><a href="/1917" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">1917</a></div><div class="field-item even" rel="dc:subject"><a href="/joker-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">joker</a></div><div class="field-item odd" rel="dc:subject"><a href="/best-picture-oscar" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">best picture oscar</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Neil Gordon</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Mon, 10 Feb 2020 12:14:10 +0000 tara 9344 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/10396-best-picture-nominations-oscars-unleashed-monsters-journey#comments The 2020 Academy Awards: And the Oscar Goes To… https://www.highbrowmagazine.com/10392-academy-awards-and-oscar-goes <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/film-tv" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Film &amp; TV</a></div></div></div><span class="submitted-by">Submitted by tara on Thu, 02/06/2020 - 22:03</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1oscars2020.jpg?itok=ZxFbt6kH"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1oscars2020.jpg?itok=ZxFbt6kH" width="480" height="310" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><strong><em>Highbrow Magazine</em> contributing writer Christopher Karr, a film buff and critic who has spent considerable time watching (and re-watching) this year’s Oscars contenders, offers his Should Win/Will Win list:</strong></p> <p> </p> <p>--Should Win*</p> <p><strong>--Will Win</strong></p> <p> </p> <p><strong>Best Picture</strong></p> <p>Ford v Ferrari</p> <p>The Irishman</p> <p>Jojo Rabbit</p> <p>Joker*</p> <p>Little Women</p> <p>Marriage Story</p> <p>1917</p> <p><strong>Once Upon a Time in Hollywood</strong></p> <p>Parasite</p> <p> </p> <p><em>Parasite</em> is the best movie of the year, and <em>Joker</em> is a close second. Still, it’s hard to imagine the Academy resisting Tarantino’s exquisite plunge into 1969 Hollywood. The movie is catnip for voters. Plus, <em>Parasite</em> is destined to get its due in other categories. </p> <p> </p> <p><strong>Best Actor</strong></p> <p>Antonio Banderas, Pain and Glory</p> <p>Leonardo DiCaprio, Once Upon a Time in Hollywood</p> <p>Adam Driver, Marriage Story</p> <p><strong>Joaquin Phoenix, Joker*</strong></p> <p>Jonathan Pryce, The Two Popes</p> <p> </p> <p>In any other year, my money would be on Leonardo DiCaprio. But Joaquin Phoenix’s unfathomable performance is instantly iconic. No other actor — living or dead — would be able to pull off anything close to his completely idiosyncratic interpretation of a classic character. </p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2oscars2020.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><strong>Best Actress</strong></p> <p>Cynthia Erivo, Harriet</p> <p>Scarlett Johansson, Marriage Story</p> <p>Saoirse Ronan, Little Women</p> <p>Charlize Theron, Bombshell</p> <p><strong>Renee Zellweger, Judy*</strong></p> <p> </p> <p>For everyone in this category except Renee Zellweger, the nomination is the award. (I think I’m the only one who wasn’t convinced by Scarlett Johansson’s strained, unfocused effort in <em>Marriage Story</em>.) Even though <em>Judy</em> is a mediocre film, Zellweger’s total possession by the ghost of Judy Garland is chill-inducing. I get goosebumps just thinking about those song numbers. </p> <p> </p> <p><strong>Best Supporting Actor</strong></p> <p>Tom Hanks, A Beautiful Day in the Neighborhood</p> <p>Anthony Hopkins, The Two Popes</p> <p>Al Pacino, The Irishman</p> <p>Joe Pesci, The Irishman</p> <p><strong>Brad Pitt, Once Upon a Time in Hollywood*</strong></p> <p>Are the other farfetched “movie star” nods designed to ensure that Brad Pitt is a lock? No matter — Pitt gives the performance of his career as Cliff Booth. He so embodies the essence of cool that 50 years from now, filmgoers might say, “Who’s Brando?”</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4oscars2020.jpg" style="height:338px; width:600px" /></p> <p> </p> <p><strong>Best Supporting Actress</strong></p> <p>Kathy Bates, Richard Jewell</p> <p><strong>Laura Dern, Marriage Story*</strong></p> <p>Scarlett Johansson, Jojo Rabbit</p> <p>Florence Pugh, Little Women</p> <p>Margot Robbie, Bombshell</p> <p> </p> <p>Even though Kathy Bates is a living genius, I didn’t see <em>Richard Jewell</em>. (No one I know did.) Margot Robbie and Florence Pugh’s nominations are perplexing. Was this year starved for supporting female performances, or did the best ones get unfairly overlooked? Dern wins by default — she was the best part of <em>Marriage Story</em>.</p> <p> </p> <p><strong>Best Director</strong></p> <p>Martin Scorsese, The Irishman</p> <p>Todd Phillips, Joker</p> <p>Sam Mendes, 1917</p> <p>Quentin Tarantino, Once Upon a Time in Hollywood</p> <p><strong>Bong Joon Ho, Parasite*</strong></p> <p> </p> <p>It’s unfortunate for Todd Phillips that his monumental achievement with <em>Joker</em> — the best American film of the year — is rightfully overshadowed by the absolutely jaw-dropping work of Bong Joon Ho. <em>Parasite</em> is a masterpiece, and its director deserves his accolade. </p> <p> </p> <p><strong>Best Adapted Screenplay</strong></p> <p>The Irishman, Steven Zaillian</p> <p>Jojo Rabbit, Taika Waititi</p> <p><strong>Joker, Todd Phillips, Scott Silver*</strong></p> <p>Little Women, Greta Gerwig</p> <p>The Two Popes, Anthony McCarten</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5oscars.jpg" style="height:338px; width:600px" /></p> <p> </p> <p>The screenplay for <em>Joker</em> is a masterclass in cinematic storytelling. (<a href="https://d2bu9v0mnky9ur.cloudfront.net/academy2019/screenplay/joker/joker_new_final.pdf" target="_blank">See for yourself</a>.) Every image in the final film aligns magnificently with the image painted into the text of the script. The <em>Joker</em> screenplay is essential reading for any aspiring or seasoned screenwriter. By comparison, the other nominated scripts are mini-disasters. </p> <p> </p> <p><strong>Best Original Screenplay</strong></p> <p>Knives Out, Rian Johnson</p> <p>Marriage Story, Noah Baumbach</p> <p>1917, Sam Mendes and Krysty Wilson-Cairns</p> <p><strong>Once Upon a Time in Hollywood, Quentin Tarantino</strong></p> <p>Parasite, Bong Joon-ho, Jin Won Han*</p> <p> </p> <p>The screenplay for <em>Parasite</em> is one of the greatest original scripts in recent memory. It has a dazzling, Shakespearean depth. Quentin Tarantino’s screenplay is flawed (especially that unacceptable ending, which flirts with canceling out the significance of everything that leads up to it), but the vision he expressed on the page merits recognition. </p> <p> </p> <p><strong>Best Cinematography</strong></p> <p>The Irishman, Rodrigo Prieto</p> <p>Joker, Lawrence Sher</p> <p>The Lighthouse, Jarin Blaschke</p> <p>1917, Roger Deakins</p> <p><strong>Once Upon a Time in Hollywood, Robert Richardson*</strong></p> <p> </p> <p>The thrilling accomplishment of Richardson’s retro cinematography cannot be understated. His technique and craft elevated the content of Tarantino’s vision in a way that leaves you overwhelmed. </p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6oscars2020.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><strong>Best International Film</strong></p> <p>Corpus Christi, Jan Komasa</p> <p>Honeyland, Tamara Kotevska, Ljubo Stefanov</p> <p>Les Miserables, Ladj Ly</p> <p>Pain and Glory, Pedro Almodovar</p> <p><strong>Parasite, Bong Joon Ho*</strong></p> <p> </p> <p>There’s no contest here: <em>Parasite</em> deserves an Oscar for Best Foreign Film of the Decade. </p> <p> </p> <p><strong>Best Animated Film</strong></p> <p>How to Train Your Dragon: The Hidden World, Dean DeBlois</p> <p>I Lost My Body, Jeremy Clapin</p> <p>Klaus, Sergio Pablos</p> <p>Missing Link, Chris Butler</p> <p><strong>Toy Story 4, Josh Cooley*</strong></p> <p> </p> <p><em>Toy Story 4 </em>isn’t even the best entry in the series, but it’s better than the other nominees. </p> <p> </p> <p><strong>Author Bio:<br /> <br /> <em>Christopher Karr is a contributing writer at</em> Highbrow Magazine.</strong></p> <p> </p> <p><strong>For Highbrow Magazine</strong></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/academy-awards-2020" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">academy awards 2020</a></div><div class="field-item odd" rel="dc:subject"><a href="/oscars-25" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the oscars</a></div><div class="field-item even" rel="dc:subject"><a href="/parasite" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">parasite</a></div><div class="field-item odd" rel="dc:subject"><a href="/once-upon-time-hollywood" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">once upon a time in hollywood</a></div><div class="field-item even" rel="dc:subject"><a href="/brand-pitt" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">brand pitt</a></div><div class="field-item odd" rel="dc:subject"><a href="/leonardo-dicaprio" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Leonardo DiCaprio</a></div><div class="field-item even" rel="dc:subject"><a href="/joaquin-phoenix" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Joaquin Phoenix</a></div><div class="field-item odd" rel="dc:subject"><a href="/joker-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">joker</a></div><div class="field-item even" rel="dc:subject"><a href="/todd-philipps" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">todd philipps</a></div><div class="field-item odd" rel="dc:subject"><a href="/martin-scorcese" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Martin Scorcese</a></div><div class="field-item even" rel="dc:subject"><a href="/irishman" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the irishman</a></div><div class="field-item odd" rel="dc:subject"><a href="/little-women" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">little women</a></div><div class="field-item even" rel="dc:subject"><a href="/noah-baumbach" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">noah baumbach</a></div><div class="field-item odd" rel="dc:subject"><a href="/laura-dern" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">laura dern</a></div><div class="field-item even" rel="dc:subject"><a href="/adam-driver" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">adam driver</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Christopher Karr</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Fri, 07 Feb 2020 03:03:20 +0000 tara 9338 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/10392-academy-awards-and-oscar-goes#comments Tarantino Delivers a Genius – and Peculiar – Masterpiece in ‘Once Upon a Time…’ https://www.highbrowmagazine.com/10075-tarantino-delivers-another-genius-and-peculiar-masterpiece-once-upon-time <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/film-tv" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Film &amp; TV</a></div></div></div><span class="submitted-by">Submitted by tara on Fri, 08/02/2019 - 10:27</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1tarantinofilm.jpg?itok=IyuqbOKW"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1tarantinofilm.jpg?itok=IyuqbOKW" width="480" height="323" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p>Here’s the thing: Quentin Tarantino is an unqualified genius. Set aside his penchant for strong language, violence and revenge — those are merely the ornamental tools he uses as necessary. What separates him from every other filmmaker alive is his absolutely idiosyncratic gift for balancing measured rhythms with jazzy editing choices that make otherwise mundane scenes pop off the screen. And there’s a curious asymmetrical quality that permeates his style: Narrators appear and disappear; some of the Basterds get a flashy intro and others do not; why, exactly, does Uma Thurman’s Mia draw a dotted square onscreen? Well, because Tarantino is captivated by the cinematic possibilities of imbalance, the unexpected awesomeness of all that isn’t neat, tidy, and resolved.</p> <p> </p> <p>It has been cynically suggested that Tarantino is the best worst filmmaker of all time. I understand exactly what this criticism is pointing toward, but I disagree. In essence, Tarantino catalogues and preserves outdated, obscure imagery and ideas from film history by improving upon them, revising them, enhancing them. As he told <em>Empire</em> magazine in 1994, “I steal from every single movie ever made,” and don’t consider the possibility that this statement is dated. He uses the word “steal” in the same context as T. S. Eliot, who wrote: “Immature poets imitate; mature poets steal.” Because of Tarantino’s unparalleled originality, his theft is a victimless crime; he absorbs, appropriates, and reconstructs the most compelling examples of moviemaking for the sake of his audience.</p> <p> </p> <p>We have witnessed Tarantino’s growth as an artist, but his wildly unique sense of pacing has been his signature from the beginning. That’s why watching his best movies (and even his minor efforts) plug you into a heightened but recognizable version of reality. It’s surrealism made realistic. One might be tempted to reduce <em>Pulp Fiction</em> down to its over-the-top moments and the then-innovative loop built into the narrative, but those elements aren’t exactly what make that movie unique: It’s the novelistic, occasionally meandering but never boring pacing.</p> <p> </p> <p>When Kubrick was developing <em>Eyes Wide Shut</em> with screenwriter Frederic Raphael, the director said “the way [<em>Pulp Fiction</em>] was told” is something they should consider as they crafted the script. Raphael didn’t think their story needed a loop like that, but Kubrick wasn’t referring to the loop. He was talking specifically about “the pace. Watch the pace.” It’s the unbearable leisurely pace of scenes, like the masterful opening of <em>Inglorious Basterds</em> or the dinner table scene in what is probably Tarantino’s greatest film, <em>Django Unchained</em>. His sense of novelistic pacing reached new heights in <em>The Hateful Eight</em>, even if, at times, the film unfolded as a play trapped rigidly within a proscenium arch.</p> <p> </p> <p><br /> <img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2tarantinofilm.jpg" style="height:418px; width:625px" /></p> <p> </p> <p>Naturally, Tarantino stretches and further develops this enticing balance of purely cinematic visuals and naturalistic tempos in his ninth feature, <em>Once Upon a Time…in Hollywood</em>, the auteur’s most daring and brazen attempt to create a visual novel, a three-dimensional engineering of a story that feels like the Word made flesh. The setting is Los Angeles, 1969. The main characters are Rick Dalton (Leonardo DiCaprio), a heavy-drinking TV actor struggling to transition into more lucrative movies, and Cliff Booth (Brad Pitt), Rick’s best friend and stunt double. There is a lot of cruising around and vibing to a perfectly groovy soundtrack. Rick takes a gig in an Italian western. Cliff fixes an antenna on Rick’s roof. Also, there is a blonde named Sharon Tate (Margot Robbie) who attends parties with her husband, Roman Polanski (Rafal Zawierucha), and former lover, Jay Sebring (Emile Hirsch). Also, not far from the Hollywood Hills, where Rick’s house is a mere swooning crane shot from Sharon’s home, there is the Spahn Ranch where Charles Manson (Damon Herriman, in a cameo) and his pack of followers provide visitors with horse rides while secretly plotting a maniacal event that would throttle 1969 L.A. more violently than any earthquake.</p> <p> </p> <p>But you already know this much from that mystifying trailer for the movie. What you don’t know is that the three aforementioned plot lines don’t meaningfully interact. The characters circle and pass by each other within the narrative, but there’s no ultimate checkmate. Tarantino made it very clear as early as 2017 that his movie is not “Charles Manson, it’s 1969.” This is an accurate characterization, so be forewarned. He also released a statement to the viewers of the premiere at Cannes imploring that “everyone avoids revealing anything that would prevent later audiences from experiencing the film in the same way” — a roundabout, and classically Tarantino, way of saying, “No Spoiler Alerts.” It’s also been reported that Robert Richardson, the DP on <em>Once Upon a Time</em>… wasn’t allowed to read the ending of the script until midway through production.</p> <p> </p> <p>When these factors, along with that perplexingly oblique trailer, are taken into account, you might find yourself drawn to see this film out of sheer curiosity. After all, why would Tarantino cast nearly every single key figure from the Manson Family murders if the movie isn’t in some crucial way centered around the event sparked by Charles Manson and his spacey-eyed followers? Simply put, it’s because Tarantino wants us to live and bask in the sun-faded glow of a bygone era in Hollywood; a time when L.A. was a laidback town full of actors, artists, directors, beauties, drugs, parties, pools, and giant bottles of booze; a far-out Eden before the Fall. In this regard, the movie is both absorbing and pointedly peculiar. The easygoing pace gathers momentum as the characters drift toward the central event that we know must be coming. Even if you are unaware of any of the details of the Manson Family murders, you’re still expecting a Tarantinoesque showdown.</p> <p> </p> <p>But the showdown doesn’t happen. Yes, there is a showdown of sorts, but it falls directly into the shaggy dog variety. If you know the story of Sharon Tate’s fate, the ending of <em>Once Upon a Time…</em> is baffling, bizarre and blithe; an anticlimax. If you possess zero knowledge about the events that unfolded on August 8-9, 1969, then the conclusion to this film makes almost zero sense. When you consider the arch of the narrative outside of its historical and cultural context, you realize you’ve been had.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3tarantinofilm.jpg" style="height:600px; width:500px" /></p> <p> </p> <p>Tarantino, a master storyteller, has opted to tell a classic “A priest, a rabbi, and an atheist walk into a bar…” joke, a goof, a one-off. After two and a half hours of listening to Tarantino’s often engaging but sometimes bloviating rendition of this classic joke, he concludes with the punchline that goes something like, “So the priest, the rabbi, and the atheist enjoy each other’s company, respect each other’s beliefs, and have an altogether wonderful evening. The end.” All the implied complications and challenges posed by the premise evaporate because, as this ending makes clear, the lengthy setup accomplishes little more than presenting an absolutely accurate portrayal of days in the life of industry professionals during a certain time. In terms of production and costume design, the film is stunning. But if you’re hoping for more than a pun-heavy punchline, place your hopes elsewhere.</p> <p> </p> <p>Some critics have chosen to finger-wag about Tarantino’s playful approach to rewriting history, but the revision of historical events isn’t the problem. The reason viewers and critics alike leave the theater in a state of bewilderment has everything to do with Tarantino’s insufficient conclusion; the climax simply doesn’t work without wiping out the significance of the preceding two and a half hours. There was a general sense of confusion mingled with disappointment in the theater as the credits began to roll. I can’t be the only one who thought:  So…is there going to be a volume two? One audience member stood up and loudly declared that it was the worst thing he’d ever seen and should ask for his money back. In the lobby, the same man was trying to explain the significance of the ending to his bleary-eyed and categorically uninterested son: “OK, so back in 1969, what actually happened was…” he began, irritably trying to add context to the non-event that occurs at the end of this picture. The ending makes the preceding build-up feel questionable at best and irrelevant at worst. There’s no tragedy or triumph — shouldn’t there be both?</p> <p> </p> <p>The ending notwithstanding, there are times when the movie soars: The opening sequence that accompanies the credits is a breathtaking collage that plunges you completely into the headspace and milieu a different totally time. Brad Pitt gives the coolest performance of his career, and I mean “coolest” in the purest possible sense: cooler than Brando at his coolest, cooler than Steve McQueen (who appears as a character in the film long enough to give a monologue before disappearing completely). Pitt’s rapport with his dog is one of the more touching elements. DiCaprio is game as ever as Rick, and it’s especially appealing watching him commit to exploring the pathos of such a low-status character, stuttering and blinking and coughing and wallowing in self-pity. At times, the dialogue is perfunctory and bland, but sometimes the performances elevate the static lines to a Chekhovian level of subtext. There are disarming and supremely enjoyable outtakes, deliberate mis-takes, breaks and outlandish digressions. The craftsmanship is flooring and the formal qualities of <em>Once Upon a Time…</em> offer one of the year’s most fully realized color palates.</p> <p> </p> <p>I don’t think Tarantino’s use of cinematic language has ever been better, but his refusal to provide a freak-out ending, as he did spectacularly in <em>Django Unchained</em> and <em>Inglorious Basterds</em> and, to a slightly less satisfying extent in <em>The Hateful Eight</em>, left me with a literal crick in my neck. I spent the final 40 minutes of the film tense with anticipation as I waited for the inevitable ending. The absence of a catharsis caused that crick to remain in my neck for the rest of the night. Because the tension was unresolved onscreen, the tension didn’t allow itself to be exorcized from my body.</p> <p> </p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4tarantinofilm.jpg" style="height:351px; width:625px" /></p> <p> </p> <p>Even though I know what transpired on that night in August in 1969, I’m also aware of the wildly mischievous liberties Tarantino imposes over historical events. Hitler and his Nazis are set aflame. The slave survives unthinkable odds to visit great vengeance and furious anger upon the slaveowners. A series of homicides leaves almost everyone dead. But <em>Once Upon a Time…</em> puzzlingly presents the first instance I’m aware of where Tarantino essentially says, “j/k, I’m not even gonna go there.” So was this decision made from a place of fear of backlash? Out of respect for the very real — and infamous — victims? Did he want to experiment with a counterintuitive approach to the type of climax we’ve come to not just expect but desire from him? </p> <p> </p> <p>It’s likely that Tarantino isn’t terribly interested in the murders or Manson, which offers a compelling explanation for the flagrant lack of development of Sharon Tate as a character. (There is no chance of empathy; she’s reduced to wonderstruck smiles and carefree beauty. Plus, the actions assigned to her present no momentum to the story.) Rather, he’s more fascinated by the possibilities of recreating and toying with old school movies and clunky TV shows from the era. During these moments, his verve and energy come closest to reaching vibrancy. However, what he has mainly succeeded in is flawlessly crafting snippets of mediocre TV shows that aren’t in and of themselves that interesting — that’s how authentic they are, and they roll for long stretches as a time.</p> <p> </p> <p><em>Once Upon a Time…</em> is the most peculiar epic in his filmography, and perhaps it will become more lauded over time. Tarantino is such a master filmmaker that I’m not worthy of proofreading a single sentence he writes. E. B. White once quipped, “Genius is more often found in a cracked pot than a whole one.” Ultimately, in spite of whatever misgivings or criticisms or complaints that I have, I would take a cracked pot from a brilliant crackpot like Tarantino over any whole pot that graces the multiplex.</p> <p> </p> <p><strong>Author Bio:</strong></p> <p> </p> <p><strong><em>Christopher Karr is a contributing writer at</em> Highbrow Magazine.</strong></p> <p> </p> <p><strong>For Highbrow Magazine              </strong></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/quentin-tarantino" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">quentin tarantino</a></div><div class="field-item odd" rel="dc:subject"><a href="/once-upon-time-hollywood" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">once upon a time in hollywood</a></div><div class="field-item even" rel="dc:subject"><a href="/brad-pitt" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">brad pitt</a></div><div class="field-item odd" rel="dc:subject"><a href="/leonardo-dicaprio" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Leonardo DiCaprio</a></div><div class="field-item even" rel="dc:subject"><a href="/new-films" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new films</a></div><div class="field-item odd" rel="dc:subject"><a href="/sharon-tate" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">sharon tate</a></div><div class="field-item even" rel="dc:subject"><a href="/charles-manson" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">charles manson</a></div><div class="field-item odd" rel="dc:subject"><a href="/manson-murders" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">manson murders</a></div><div class="field-item even" rel="dc:subject"><a href="/hollywood" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Hollywood</a></div><div class="field-item odd" rel="dc:subject"><a href="/roman-polanski" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">roman polanski</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Christopher Karr</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Fri, 02 Aug 2019 14:27:48 +0000 tara 8880 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/10075-tarantino-delivers-another-genius-and-peculiar-masterpiece-once-upon-time#comments