Reactions visible to anyoneReactions visible to owner’s Close FriendsReactions only visible to youDraft entryVisible to anyone (with link)Visible to the member’s friends (with link)Only visible to you
Still not top tier QT for me. Plays too much like a drive around his mind, and I still find his revenge antics here and in "Basterds" more juvenile than cathartic. But the aimlessness of the movie does click on another viewing. All the hanging out -- the drinking, the driving, watching TV, listening to the radio, the time on studio sets -- QT just wants to luxuriate in it all, this past that's already gone and also never happened. The reality of who Sharon Tate was, or at least embodied, and the fantasy of what should have been. The melancholy does stick, even if you feel these two expiring white men don't deserve any more sympathy than their previous ilk have already gotten. But it's movie stardom itself that's expiring in today's industry, and that does deserve our sympathies, maybe even a few tears.
Also all flowers to Pitt for the most laid back Oscar performance of the millenium, but this is near career best work from Leo. He harnesses all the neurotic fussiness of past performances and plays it for pitiful, prideful laughs. It takes a great actor to play a subpar one. He makes it look effortless.
Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!