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Margot Robbie

The Suicide Squad: War is a Funny Thing

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The sequel to 2017’s disastrous Suicide Squad, James Gunn’s soft-reboot The Suicide Squad also tells the story of a ragtag group of villains and maniacs with unique abilities who are forced to work together by the America Government. If they are able to survive this suicide mission, they get reduced jail time. Disobey an order though and their head blows up. This time, their team consists Harley Quinn (Margot Robbie), Bloodsport (Idris Elba), Peacemaker (John Cena), King Shark, a giant CGI shark-man (voiced by Sylvester Stallone) and other crazy characters thrown in the mix like a living human weasel and Mongal, an alien warrior from another planet. Their mission is to destroy Jötunheim, a Nazi-era prison located in Corto Maltese, South America where alien experimentations are being used by its new evil dictators. 

The Suicide Squad is James Gunn at his absolute best. This is a film that really feels like an R-rated Guardians of the Galaxy (which is definitely a good thing). Picking James Gunn as the writer/director was a great decision for the WB and the difference in quality between the first Squad film and this one is night and day. Widely panned by critics and audiences, the first film felt like it was made by Hot Topic. Overstuffed by character backstories with limited action scenes and, lest we forget, the worst depiction of the Joker ever, 2017’s Squad was a tremendous let-down for the company. However, in Gunn’s vision for Squad, we jump right into the action and craziness, where half the team gets decimated within the first 5 mins of the movie. (It really is a Suicide Squad…) Gunn’s voice is nuts, often unexpected, and truly fitting of a rated-R movie. 

In addition, unlike the first film, Gunn’s film really isn’t trying to take themselves too seriously. Gunn clearly understands how insane both the premise and some of these characters are. For instance, there’s one really epic scene where King Shark rips a guy in half with his bare heads in slow-motion while lighting strikes in the background. (And that’s not even the craziest part of the movie!) This Squad also contains a woman that controls rats, Harley’s epic escape from prison and Bloodsport’s shooting through someone else’s bullet. That sort of high intensity action pairs really well with the comedy that James Gunn loves throwing into his films like Polka-Dot Man’s deep hatred for his mom that runs so deeply that he sees her everywhere. 

The underlying theme of The Suicide Squad seems to be a criticism of American nationalism and the smoke and mirrors that the American image upholds. This idea is best symbolized through Amanda Waller and John Cena’s character, Peacemaker. Decked out in the classic red, white, and blue colors of America, Peacemaker has dedicated his heart for “liberty.” Both characters are willing to do whatever they can to preserve the image of America as ‘for the people, by the people’ and the nation that all others should aspire to be. Of course, this is all a delusion but both characters act to try to preserve this false image simply because it’s something that they were led to believe. They truly think what they’re doing is right, despite being on both sides of the propaganda. 

The Suicide Squad further delves into its critique of the US by mentioning how many South America countries have been ravaged by them during the Cuban Missile Crisis. Similar to the way that Corto Maltese was used to store illegal human experiments using the alien starfish, so too did the US use Cuba for their nuclear weapons in the 1960s. In an example of toxic American nationalism, Waller and the Peacemaker will do whatever it takes to preserve US interests, even at the expense of poorer and less developed countries.

Overall, The Suicide Squad is the rag tag team of villains that we deserved (and needed). Director James Gunn is allowed total freedom here and looks like a genius. Not only is the action exceptional (and plenty) but the comedy is incredible and works so well with the characters they have.

The 4K UHD combo pack contains a gag reel of ridiculousness, three themed trailers, commentary from Gunn, deleted and extended scenes, four “scene breakdowns,” and four featurettes: “Gotta Love the Squad,” “The Way of the Gunn,” “Starro: It’s a Freakin Kaiju!” and “Bringing King Shark to Life.”

Cultural Crossovers: 1on1 with Will Gluck (PETER RABBIT 2: THE RUNAWAY)

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It’s no secret that the work of Beatrix Potter is beloved by her fans.

As the author of the Peter Rabbit franchise, Potter’s stories have been read to millions of children over the years around the world. Of course, these expectations also make translating these stories onscreen even more challenging, especially if you want to honour what has come before.

Directed by Will Gluck, Peter Rabbit 2: The Runaway takes us back to McGregor’s garden for the wedding of Bea and Thomas (Rose Byrne and Dohmnall Gleeson). Though they have no kids of their own, Bea and Thomas have developed a makeshift family with the rabbits and other animals and all seems well in their abode. Even so, despite the fact that he wants to be a good rabbit, Peter (James Corden) can’t seem to break free from his reputation of causing trouble. Then, when Bea gets a call from a publishing company about her book, the family hops into the truck and travels to the city. Suddenly out of the garden, Peter finds himself in a world where being a rascal is celebrated. After he meets Barnabas (Lenny James), an old friend of his father, Peter is invited into the criminal underworld (well, for bunnies that is) and must decide what type of rabbit he wants to be.

After having so much fun with the crew directing the first entry, Gluck was excited to return to the world once again. Admittedly though, one of the other major factors in his decision was the opportunity to share the experience with his family as well. 

“I had an idea for the second one,” he explains. “I didn’t want to walk away from something, but I also wanted to bring my family down to Australia. We all moved down there for more than half a year and gave them a new experience and that was a big part of it, to be honest.”

“[We shot in] Sydney and London. We all moved down to Sydney and then we went to London… and they went to school down there. They all fell in love with the country. I [also] loved the crew the first time. I had such a great time. As you go through life, you realize that, when you meet people that you like and work well with, why not try to replicate it with them? I think, when I was younger, I probably would’ve not done it. But as you get older and say, ‘Wow, these are these people that are amazing. Let’s keep going.’” 

Having directed mostly character-driven films early in his career, the move to a CGI-heavy franchise was a difficult transition. Even so, he and his team embraced the challenge of blending computer effects with live action and fought hard to give it the same authentic feel of traditional filmmaking.

“I didn’t know anything in the first film. I was completely blind then,” Gluck recalls. “They always say being a director is having the illusion of control, but being director of a live action/CGI movie is not even an illusion. You have to just kind of give yourself up and trust everybody. It was such a fun process to learn. So, the second time, since I knew more about it, we could play even more. I know it’s something that people don’t notice but, for a CGI/live action movie, this is so, so complicated. They always say that the simplest things are so complicated to pull off, but we never wanted to do a stationary shot. We never wanted to make it easy for ourselves. We never locked off. The camera’s always moving. It’s just like it’s a regular live action movie, which makes it really hard. But everyone was up for the challenge and it was challenging but fun, ultimately.” 

Certainly, taking on the Peter Rabbit franchise is not an easy task. Beloved for generations, the works of Beatrix Potter held in high regard for their classic sensibilities and innocence. While Gluck did everything he could to respect these memories, he also recognizes that these memories are also tainted by our own sense of nostalgia.

“It’s challenging for many reasons,” Gluck begins. “I want to honor Beatrix Potter, for all the reasons you can think of. I feel incredible responsibility to the British people and the people in the Commonwealth who loved and grew up with Peter Rabbit. I did too. But you also have to make a movie that people want to see. So, it’s a constant dance. Now, if I were to actually think all the time about how much pressure it is, I would be paralyzed. So, at some point, you just have to say, ‘we’re doing it this way, and this is the way it is.’ It’s tough [because] it’s Beatrix Potter. She’s so beloved as she should be. She’s so beloved.” 

“Everyone has their own memory of Beatrix Potter,” he continues. “But, really what their memory is… when they read the book or when they read the book to their kids, like me. It’s not necessarily the actual [material]. I’ve had so many people say, how could you kill Peter Rabbit’s father? I’m like, I didn’t kill Peter Rabbit’s father. Beatrix Potter put him in a pie. So, we took every inch of the source material we could and used it. So it’s more their fond memories of the grandmother, of their dishes, of their samplers. That’s a tough memory to mess around with. It’s dangerous.“

As he attempted to blend more modern humour with Potter’s fabled characters, Gluck did his best to bring them together in a healthy balance. Despite the franchise’s success, he’s still not entirely certain that he was able to fully accomplish his goal.

“I don’t know if we did [find the right balance],” admits Gluck. “A lot of people think we didn’t. The majority of people in the UK think we did, but there’s a lot of people who think we [didn’t]. Listen, there’s a line in the movie [where] Rose Byrne says ‘I’d be spinning in my grave if my pictures ever get turned into some puerile hip-fest.’ All those lines in that scene were taken directly verbatim from critics.”

Over the course of his career, Gluck has created a wide variety of film styles, ranging from more R-rated comedies such as Easy A and Friends with Benefits to the family-oriented, CGI-heavy Rabbit franchise. When he thinks about what types of stories he wants to tell, he believes that the best stories are more upbeat and stem from our common experiences.

“I’ve done all different types of movies [and] all different genres,” he says. “I don’t like seeing bummers of movies. I like seeing movies that have really bummer stuff in them, but ultimately are very optimistic and positive. That’s what I choose to watch. I understand the value of the other movies. I want to be on a happy, fun and a funny set. Whenever I have to do dramatic scenes… just a straight sex scene, or even an action scene. I’m bored out of my mind because it seems like math to me. I like kind of fun, upbeat, funny movies about the human condition.” 

For Gluck, the driving force behind his creative process remains his own life experiences, regardless of style.

“All the stuff I do for a living is informed by my life,” he contends. “It’s a hundred percent. So, it’s what I’m going through, what I enjoy and who I’m with. Friends with Benefits is a sex comedy because that was before you got married. Before that, [Easy A was] in high school. Then, guess what? I had kids, so now I want to do stuff for kids. It’s’s not calculated. It’s not that hard to figure out. My next movie is adult action comedy because my kids are now like, all right, we got that part. Dad give us something for us. So, my family is always so close to me and that’s what I’m inspired by.” 

As with any film, Gluck believes that the soul of the character matters most. With the latest entry into the franchise, he wanted to show Peter at a time in his life when he had to decide for himself what type of rabbit that he wants to be.

“In the first movie, in my head, Peter was 11 or 12 years old and figuring life out,” Gluck points out. “He thinks he knows better, as we all do, often wrong, never in doubt. Then, when he gets older, and in this movie he’s about 14, 15 years old, you go through different things. We wanted to kind of honor the time in your life when you are right at that crossroads and deciding who you are going to be in life, whether you’re going to be who people tell you to be, or whether you’re going to be who you really are. That really is kind of like an identity search for the soul of Peter. This is the moment in life so many people figuring out who they are, right. It’s in high school, [at the age of] 15, 16. That’s when they kind of take that path and it kind of imprints them forever. Some people change. My theory is that no one does, but some people change. So, this is kind of like the fight for Peter’s soul in this movie. Unlike other kids in life, you actually saw him dealing with it and talking about it and, ultimately, he makes the right choice, I think. This movie was kind of imprinting his soul.” 

Peter Rabbit 2: The Runaway is now available on demand and in theatres.

To see our complete conversation with Will Gluck on YouTube, click here.

Peter Rabbit 2: The Runaway – Tell Me Who I Am

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Growing up can be difficult enough without people telling you who they think you are.

Written and directed by Will Gluck (Easy A), Peter Rabbit 2: The Runaway is an enjoyable romp through the English countryside and city that never loses its heart. Balancing the outlandishly silly and simple charm, Gluck has created a sequel worthy of the original film that should entertain both children and their parents alike. Adding to the film’s effectiveness are the voice cast who are so star-studded that one will likely be shocked by some of the names attached during the end credits. (Admittedly though, other than Corden himself, one would have a difficult time identifying the other actors throughout the film strictly by their performances.)

Peter Rabbit 2: The Runaway takes us back to McGregor’s garden for the wedding of Bea and Thomas (Rose Byrne and Dohmnall Gleeson). Though they have no kids of their own, Bea and Thomas have developed a makeshift family with the rabbits and other animals and all seems well in their abode. Even so, despite the fact that he wants to be a good rabbit, Peter (James Corden) can’t seem to break free from his reputation of causing trouble. Then, when Bea gets a call from a publishing company about her book, the family hops into the truck and travels to the city. Suddenly out of the garden, Peter finds himself in a world where being a rascal is celebrated. After he meets Barnabas (Lenny James), an old friend of his father, Peter is invited into the criminal underworld (well, for bunnies that is) and must decide what type of rabbit he wants to be.

In some ways, The Runaway is an odd take on the franchise. On the one hand, it doesn’t always feel like the books that were read to me as a child. With my young ears, those simple tales about animals learning lessons about growing up at the farm felt almost thought-provoking with their innocence. However, the film adaptation feels like a different animal entirely. Like the first film, Runaway is filled with energy and life with an eye on pop culture and modern sensibilities. On the surface, that style of vigorous storytelling style feels like it should be incongruous with the original. 

However, on the other hand, somehow Gluck blends the two styles very well together and creates something both fun and honest. Even with its urban environment and life, Peter Rabbit 2: The Runaway still manages to charm and delight. Instead of losing its innocence at the hands of the big, bad city, Runaway manages to bring the rural purity along for the ride. There’s an intentional desire on behalf of Gluck and his team to allow the heart of the Potter characters to remain true to the characters, despite their change in setting.

In fact, that’s very much the point of the story itself.

As Bea’s stories about Peter become a local success, she catches the eye of major publisher, Nigel Basil-Jones (David Oyelowo). Nigel loves her stories yet he also believes they can make the property even more accessible to the masses by steering the characters into increasingly wild scenarios. For Nigel, success is the standard and that can be achieved if Bea is willing to make a few compromises to her material along the way. (After all, who wouldn’t want to see rabbits in space?)

However, are these changes true to Bea’s characters ? Although fame is knocking on their garden door, Bea and Thomas begin to ask themselves whether it’s worth the cost of their integrity. To them, losing the soul of their characters would demonstrate a lack of authenticity to the stories that they had created. (This is also referenced with a hilarious wink at the camera when the rabbits suggest that these types of stories are often adapted poorly, ‘usually by some cocky American’.)

At the same time, Peter is undergoing somewhat of an identity crisis as well. Having been labelled as the ‘bad seed’ of the group, Peter is left despondent. While he’s always known that he’s a little mischievous, he has never thought of himself to be a villain. However, his new label leaves him feeling lost. If others see him as the bad guy, maybe he’s wrong about himself. Then, after meeting Barnabas, Peter is led to explore his own ‘dark side’ to see if he’s really as bad as other’s say. 

Held up against one another, both stories offer slightly different takes on what it means to find out who you are. In The Runaway, Bea and Peter must both ask themselves tough questions about the quality of their character. In this way, the film becomes somewhat of a coming-of-age story as the two wrestle with whether or not the allure of a carefree life of success outweighs the concessions that they must make to get there.

Hopping along with youthful exuberance, Peter Rabbit 2: The Runaway is a delightful film with humour and heart. Though this seems like an unlikely take on the material at first, Runaway is a delightful addition to the franchise that expands the world yet maintains its soul. Even if Peter may say that “[he] didn’t think they’d get this far”, I would welcome the chance to return to McGregor’s garden one more time should the opportunity arise.

Peter Rabbit 2: The Runaway is available on demand on Friday, July 2nd, 2021.

6.20 Emancipating the BIRDS OF PREY

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After her debut in SUICIDE SQUAD, fan favourite Margot Robbie gets her time to shine brightly in BIRDS OF PREY (AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN). After stepping out from the shadow of her ex—the Joker—Quinn quickly finds herself in the cross-hairs of every hitman in Gotham, especially maniacal crime boss Black Mask (Ewan Macgregor). However, Harley isn’t the only woman in Gotham who needs emancipation and she finds some unlikely allies in tough cop Rene Montoya, Black Canary and The Huntress. In a fantabulous episode, Mira Ibrahim joins me again to talk about the meaning of emancipation and pop culture’s portrayal of gender.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue the conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

6.20 Bird of Prey (and the Fantabulous Emancipation of One Harley Quinn)Download

Birds of Prey: Emancipation with an Edge

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‘Turns out I’m not the only dame in Gotham looking for emancipation.’

–Harley Quinn, Birds of Prey

After the middling returns on Justice League, DC has broken away from their perceived Marvel-envy with a wide variety of films, ranging from the underwater epic Aquaman, teen-frenzied Shazam! and the dark and brooding Joker. With Birds of Prey, they continue the trend of well-written solo pieces that focus on character as opposed to forcing the next Avengers-type film. While cross-overs are inevitable (Quinn has already been confirmed for the James Gunn’s Suicide Squad film), the new approach has allowed each film in their canon to have their own flavour. Thankfully, Birds of Preycontinues the trend as a fun and free-wheeling burst of color and energy that breathes fire when it needs to and, more importantly, continues to breathe life into DC’s film slate.

Directed by Cathy Yan (Dead Pigs), Birds of Prey (or the Fantabulous Emancipation of One Harley Quinn) reintroduces us to the unpredictable Harley Quinn. Finally free from her relationship with the Joker, Quinn suddenly finds that she has a target on her back and she’s forced to go on the run from narcissistic crime boss Roman Sionis (Ewan Macgregor), his right-hand man, Victor Zsasz (Chris Messina), and every other thug in the city. But things soon begin to even out for Harley when she finds herself an unexpected ally with three lethal women – Huntress (Mary Elizabeth Winstead), Black Canary (Jurnee Smollett-Bell) and Renee Montoya (Rosie Perez).

Wild and unruly, Birds of Prey earns it’s ‘R-rating’ (though surprisingly less extreme than it could have been) and plays with fractured story-telling and breaking the ‘fourth wall’. (In fact, the film has so much freedom that it begs the question as to whether or not DC has found their answer to Deadpool.) For her second time in the role, Robbie seems even more comfortable as affable anti-heroine, Harley Quinn, as she bounds through the film with playful enthusiasm. (Incidentally, newcomers Perez, Winstead and Smollet-Bell also prove to be solid female counters to craziness.) What’s more, Yan’s desire to bathe the screen in colour helps Birds of Prey become a visual treat. Told entirely from Quinn’s perspective, the film uses every brightly lit neon possibility from glitter bombs to a Madonna-throwback sequence in an effort to bring the chaos of her mind to life. As a result, the film becomes an erratic but playful venture that doesn’t always stick the landing with its humour but offers enough quality performances and entertainment to deem the film a success.

While the film follows Quinn on her quest for survival, the subtext of the film focuses on Quinn’s journey to spiritual freedom from the men in her life, especially the Joker (who remains unseen in the film). In a distinct shift from her debut in Suicide Squad, Birds shows off Harley’s intelligence rather than focusing on her physical beauty. All but forgotten in her first film, the character does have doctorate in psychology and Birds allows her to make use of it, without losing her wild side.

What’s more, after ‘emancipating’ herself from her relationship with Mr. J, Quinn sends a message to the city that she’s finally a free agent. The problem is, however, that this action emboldens the other men of Gotham’s criminal underworld who were afraid to hurt her for fear of Joker’s wrath. With this in mind, the film quickly becomes a metaphor for breaking free from the abusiveness of male-dominance in a culture that ignores the value and intelligence of women. Though men comment on the softness of her skin or her pretty face, few take her seriously as a threat on her own. (Incidentally, Quinn’s journey parallels that of the other women in the film as well, each seeking to free themselves from under the thumb of their male oppressors.) As a result, Harley’s journey becomes less about finding safety but more about finding herself, and empowering others to do the same.

Enthusiastic and rowdy, Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) proves to be another successful entry into the suddenly energized DC canon of films. As the demented by intelligent Quinn, Robbie continues to create a character worth watching. Though the humour doesn’t always work, Birds of Prey is a visual treat with enough strong performances to suggest that his will become another viable franchise for the future. After all, if Quinn really isn’t ‘the only dame in Gotham looking for emancipation’, Robbie still has a lot of work to do.

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is free to fly in theatres on Friday, February 7th, 2020.

6.18 Setting Off the BOMBSHELL of Truth

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Back in 2016, after Megyn Kelly and Gretchen Carlson raised allegations about FOX Executive Roger Ailes, the fallout helped further survivors of sexual misconduct to speak out against their attackers sparking a movement that reverberated throughout the industry. Now, with his latest film, Bombshell, director Jay Roach attempts to give light on the truth of the story in the hopes of continuing the ongoing conversation surrounding sexual misconduct in our culture. In an honest and challenging conversation, we welcome back ScreenFish’r Julie Levac and TO Film Files’ Jolie Featherstone to discuss the relationship between power and voice.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

6.18 BombshellDownload

Bombshell – Another #MeToo Moment

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Workplace sexual harassment and abuse doesn’t qualify as “man bites dog” news. But in recent years it has become news because of the rich and powerful people involved. #MeToo has become the catchall term for such abuse, especially in the entertainment industry. Bombshell is based on the 2016 scandal that led to the ouster of Roger Ailes, the CEO of Fox News. We may look at that story as a sign of success in the fight against sexual harassment, but we might also see within the story the failure of society to adequately address the underlying issues.

We first meet two of Fox’s key women on-air talent, Megyn Kelly (Charlize Theron) and Gretchen Carlson (Nicole Kidman). They want to be considered serious journalists, but face an uphill battle. For example, when taking part in an early GOP candidate debate, Kelly challenges Donald Trump (then a long-shot to get the nomination) about his record with women. She becomes the target of his abusive twitters. Carlson has been demoted to a less viewed time slot.

Photo Credit: Hilary Bronwyn Gayle SMPSP.

When Carlson goes to lawyers to file suit over a demotion, she says it is because she has thwarted Roger Ailes’s (John Lithgow) sexual advances. She assumes that if she files suit other Fox News women will come forwards.

We also meet Kayla Pospisil (Margot Robbie), a composite character of several women at Fox News who spoke with filmmakers anonymously. Pospisil is a Barbie-figured young woman who dreams of being an on-air personality. She is ambitious and pushes her claim that as a Christian Millennial, she represents a key demographic. She creates an opportunity to get a meeting with Ailes to make her case. Even this first meeting is a bit on the creepy side.

Photo Credit: Hilary Bronwyn Gayle SMPSP.

The story develops as we watch these three women each trying to negotiate their way in a toxic and misogynistic environment. Anyone who raised these issues would be accused of the dreadful sin of “feminism”—not even women at Fox News wanted to be saddled with that word. All three women face sexist behavior from colleagues without much support from other women. Even after Carlson’s lawsuit is filed, few women come to her support—in large part because they need their jobs. Meanwhile the institution gears up with demands of loyalty to the company and expressly for Ailes.

Photo Credit: Hilary Bronwyn Gayle SMPSP.

This is not about an isolated bad situation. It reflects a reality that many women (as well as other minorities) can face in the workplace. In this case we see an especially heinous example, but even when it is not as blatant as we see here, such situations can be damaging. One of the contributing factors at Fox News, as it’s portrayed in Bombshell, is that it is built on an amoral pragmatism. A co-worker describes a Fox News story to Kayla in an early scene as what will get the most watchers. Ailes’s key phrase as he asks to see women’s legs is “It’s a visual medium.” The goal of Fox News here is not even ideology; it is whatever sells.

That amoral pragmatism was not limited to the abusers. It was suggested as the way to get what you want. The end justified the means. Good viewership justified sensational reporting. Keeping one’s job justified silence. Does a chance at a fame and fortune justify allowing oneself to be used?

Photo Credit: Hilary Bronwyn Gayle SMPSP.

Part of the problem that the women at Fox News faced was the silence of other workers. Should people warn new women about what happened in Ailes’s office? (It seemed to be an open secret.) Should they speak up when they know something bad is happening to their coworkers? In the film, much of the debate of this takes place in sotto voce debates within Megyn Kelly’s work team. These discussions serve as the voices that might well play within us and our coworkers in such a situation. We have conflicting feelings and fears, just as this small group brings to the film.

Photo Credit: Hilary Bronwyn Gayle SMPSP.

What I see as a small downside of Bombshell is that it feels a little bit voyeuristic. We stand outside looking in. (That may be in part because I’m a man who hasn’t had to live out this story in the workplace.) It may seem like an aberration that took place in a company of questionable integrity to start with. But we need to remember that in many ways both big and small, women continue to have to deal with such abusive situations.

5 Days of Christmas GIVEAWAY #5: ONCE UPON A TIME… IN HOLLYWOOD

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Actor Rick Dalton gained fame and fortune by starring in a 1950s television Western, but is now struggling to find meaningful work in a Hollywood that he doesn’t recognize anymore. He spends most of his time drinking and palling around with Cliff Booth, his easygoing best friend and longtime stunt double. Rick also happens to live next door to Roman Polanski and Sharon Tate — the filmmaker and budding actress whose futures will forever be altered by members of the Manson Family.

The winner will receive a copy of Once Upon a Time… In Hollywood on Blu-Ray!

To enter, simply like or share our post on Facebook. For a bonus entry, like or share the post on Twitter and Instagram.

All entries must be completed by 11:59pm on Friday, December 20th, 2019

Once Upon a Time … in Hollywood – A Tarantino Fairy Tale

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When I first heard that Quenton Tarantino was going to be making a movie that involved the Manson Family killings, I assumed the violence and blood would be overwhelming. But Once Upon a Time . . . in Hollywood turns out to be his least violent film. All of Tarantino’s films have an aspect of his appreciation of cinematic history, but this is his most explicit love note to Hollywood and the film industry.

As the title suggests, the film has a bit of a fairy tale aspect, focusing on the Hollywood myth—a world of stars, fame, and a bit of perversion. Set in 1969, the story focuses on Rick Dalton (Leonardo DiCaprio), a former star of a TV western who has been reduced to guest starring as a heavy in other series. His longtime friend and stunt double, Cliff Booth (Brad Pitt), serves as his driver and emotional sounding board. Dalton’s career is on a downward trajectory, but he has an offer from an agent (Al Pacino) to go to Italy and make spaghetti westerns.

The time and place are important aspects of the film. 1969 Hollywood serves the same function as the “woods” in fairy tales. It is the locale of magic and danger and dreams. There is a real nostalgic quality to the film that seeks to recreate 1969 L.A., down to the Real Don Steele on 93 KHJ (a DJ and radio station, for those who didn’t grow up here at that time). The film makes excellent use of the remaining locations from that period, as well as recreating Hollywood Boulevard to resemble what it was like then.

The danger that lurks in these woods is the Manson Family. This subplot comes into the story in two ways. Dalton’s new next-door neighbors are Roman Polanski and Sharon Tate (Margot Robbie). That home became the scene of a murder by some of Charles Manson’s followers. But the main way this subplot develops is through Booth’s meeting hitchhiker Pussycat (Margaret Qualley) who takes him out to the Spahn Ranch where the Family lived. As a stuntman in westerns, Booth knew the ranch and its owner. Booth does not trust the group that is there, and soon leaves, but not before making enemies, including Tex Watson (Austin Butler) and Squeeky Fromme (Dakota Fanning).

Six months later, much has changed in the lives of Dalton and Booth. Perhaps their friendship is coming to an end, but when the Manson Family comes on the night we know as the night of the Tate murders, Tarantino doesn’t show us what we think we will see. The violence is still there, but [spoiler] there is an alternative history. The way Tarantino twists the story makes for a fairy tale happily ever after ending (of sorts).

Tarantino fills the film with myriad movie references and reminders of stars of the time. It is not just for nostalgia’s sake. It helps to create that fairy tale environment of hopes and dreams and magic. All of this is real history, but its telling is the relaying of the mythology of the Dream Factory for dreams that may not come true. His cinematic history is at times humorous. He even manages to make us think about and laugh at the kind of violence he’s become famous for.

Fairy tales are not just happy (or scary) stories; they have meanings and lessons. As we watch Dalton, Booth, Tate and others living their lives in this fairy tale, we note the importance and frailty of egos. Whether it is Tate going to a local theater where one of her movies is playing to hear the audience reaction to her on screen, or Dalton being disparaged (and later praised) by a child method actor (Julia Butters), or Booth dissing Bruce Lee (Mike Moh) on the set of The Green Hornet, we see people who struggle, even in success, with personal fulfillment. Perhaps it is of note that the person who seems most satisfied with his life is Booth, who is the person who isn’t famous. He is the one whose ego doesn’t require constant feeding. He is at ease with himself and his place within this world that is filled with artifice. He understands that he is a part of the artifice that the others believe to be reality.

In this film, Tarantino creates an artifice built around a reality that is well-known. By focusing on the Hollywood myth, he is able to create a world of happy endings out of a real-life tragedy. But then, he knows cinema enough to know that that is why we love movies.

Photos courtesy of Sony Pictures Entertainment

5.23 Living the Dream in ONCE UPON A TIME… IN HOLLYWOOD

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The year is 1969 and Hollywood is changing. Fading star Rick Dalton (Leonardo DiCaprio) has been forced to the sidelines as new stars like Sharon Tate are stepping into the limelight. Joined by his faithful stuntman who is closer than a brother but not as close as a wife, Cliff Booth (Brad Pitt), Dalton tries desperately to reclaim the fame that is slipping away. This week on the show, That Shelf’s Victor Stiff returns to talk about Tarantino’s fairy tale, finding satisfaction and whether Cliff Booth is redeemable.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

5.23 Once Upon a Time… in HollywoodDownload