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If anything, even less happens in Hollywood than most hang-out movies. He also cited his favorite film, Howard Hawks’ Rio Bravo, as the beau ideal of such a movie. Tarantino coined the term “hang-out movie” to describe the tradition to which he felt Jackie Brown belonged, films in which spending time with appealing, memorable characters mattered more than what happened to those characters.

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That’s the basic setup of a movie that’s more about the setup than a traditional plot. But Cliff has no way of making a connection between this Charlie and the odd-looking fellow he witnessed showing up at the home of Rick’s neighbor, Sharon Tate (Margot Robbie), or knowing that Sharon’s experiencing a less-pronounced version of the same career ennui that’s troubling Rick. This allows him to spend time cruising, where he meets all kinds of intriguing characters, including Pussycat (Margaret Qualley), a teenage hippie whom he eventually learns is staying at the old Spahn Movie Ranch with a bunch of followers of someone named Charlie. He believes in Rick and seems perfectly happy doing his chores when not hanging out in the trailer he shares with an obedient and extremely hungry pit bull behind a drive-in theater in Van Nuys. But Cliff doesn’t seem to mind all that much.

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Cliff has a dubious past and sometimes exercises questionable judgment, which are qualities that have cut into his own professional prospects.

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He’s forced to consider a change of scenery after a meeting with Marvin Schwarz (Al Pacino), a Hollywood agent who wants to send him to Rome to star in Westerns, which is a move Rick really doesn’t want to make.Ĭounseling him through this crisis - and driving him, since Dalton’s license has been suspended - is Cliff Booth (Brad Pitt), Dalton’s longtime stuntman who now mostly helps out his old boss by doing odd jobs, running errands, and, above all, lending moral support.

But Dalton also knows he can still act, given the right surroundings. He drinks too much and worries even more, as one habit feeds into the other in a self-destructive cycle. His film career has never taken off, and while he doesn’t want for work, that mostly means putting in guest spots as bad guys on shows helmed by younger up-and-coming stars.

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He saw considerable success as the star of the Western TV series Bounty Law in the early ’60s, but he hasn’t quite figured out how to roll with the times. When the film opens, frustrations have long since overtaken joy for Rick Dalton (Leonardo DiCaprio).

Yet, despite the major role that the Manson family plays in the film (this review will do its best to keep that and other major plot elements unspoiled), Once Upon a Time in Hollywood is very much a film about the moments before an era comes to an end and the people who live in that era, including their joys, frustrations, and inability to see what’s coming around the corner. Joan Didion famously signposted the murders as the symbolic end of the 1960s, and they serve that purpose well. On the night of August 8th, 1969, three members of the Manson family committed mass murder at the home of Roman Polanski (who was out of town working on a movie at the time) and Sharon Tate (who was among the victims). The one landmark 1969 event the film does depict - at least, sort of - only reinforces that notion. There’s a lot going on in Tarantino’s latest film, including an exploration of the delicacy of a moment in time and how easily an era can be swept away. This is a 1969 LA in which José Feliciano sings “California Dreamin’” and ads promote an intriguing new sex comedy called 3 in the Attic, both of which are vaporous bits of pop culture that have since faded into hazy memory. The 1969 we now remember - with its political upheaval, Moon landing, and game-changing films like Easy Rider - mostly exists outside of this world. Their travels find them floating along to mostly forgotten versions of famous songs while they pass theaters with marquees promoting movies possibly no one but Tarantino has thought about for years.

The film’s characters, like most Los Angelenos, spend a lot of time driving from place to place. Much of the 1969 Los Angeles seen in Quentin Tarantino’s new film Once Upon a Time in Hollywood is real, but you could be forgiven for thinking otherwise.