For those who may be unaware of Quentin Tarantino as a filmmaker, be advised that you’ll not be witnessing something that will be receiving the proprietary Dove label. And while there is a place for Hallmark films, it’s not one of those, either.
You should also be aware, going in, that any film with a title that begins with the words “Once Upon a Time…” may not be seeing a film based solely upon accurate historical events.
One of the things that I love about QT’s work, is that he tends to bend time, space and facts, and create from them something acutely wonderful and entertaining.
And so it is with his 9th film, not counting his non-directorial attachments, and extras, such as the 2005 CSI two-parter, which should be required viewing. You can find it here:
Have I mentioned that I love this film?
Everything about it.
The casting, cinematography, screenplay, production design, set decoration — everything.
It’s the closest one will get to Hollywood in 1969, without being there.
I’ll not go into plot, or storyline in any way, as I don’t want to spoil anything for the three people who may have somehow missed it theatrically.
As a 4k Blu-ray, Columbia’s release is gorgeous, with rich deep blacks, great color, and no age related artifacts. And it’s true 4k.
But there’s a small conundrum here.
Screening via projection, imho, the HDR affected the blacks and gray scale too much, while on an OLED, it appeared much closer to the theatrical experience in 4k. I seem to recall the theatrical being presented in Dolby Atmos, but I could be wrong. The disc is DTS-HD MA 7.1.
The new 4k is priced right, at $28 street, and has some wonderful extras.
For those too young to view an R rated film, please ask for parental permission before doing so. You might just end up wanting to be a filmmaker.
Image – 5
Audio – 5 (DTS-HD MA 7.1)
Pass / Fail – Pass
Very Highly Recommended
RAH
Robert has been known in the film industry for his unmatched skill and passion in film preservation. Growing up around photography, his first home theater experience began at age ten with 16mm. Years later he was running 35 and 70mm at home.
His restoration projects have breathed new life into classic films like Lawrence of Arabia, Vertigo, My Fair Lady, Spartacus, and The Godfather series. Beyond his restoration work, he has also shared his expertise through publications, contributing to the academic discourse on film restoration. The Academy Film Archive houses the Robert A. Harris Collection, a testament to his significant contributions to film preservation.
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