You know me – I’ve always been fascinated with DTV sequels. One of their endearing qualities is that their modest budgets allow for a different type of crass commercialism than regular Hollywood – they try to cash in on familiar (or even unfamiliar) titles that would never fly on the big screen. That gave us the miracle of the UNDISPUTED sequels, but mostly just stuff where it was funny that it existed – loosely connected followups or branded rehashes of CRUEL INTENTIONS, WILD THINGS, ROAD HOUSE and HOLLOW MAN, for example, many of which I reviewed for The Ain’t It Cool News at the time.
Thanks to Universal’s direct-to-video division, 1440 Entertainment, that tradition is still going strong, and arguably making a comeback. Back in the aughts they brought us SCORPION KING and DEATH RACE sequels, they revived Chucky in the great CURSE OF CHUCKY, they started making JARHEAD sequels for some reason, and brought to life such unlikely part 2s as THE MAN WITH THE IRON FISTS 2, KINDERGARTEN COP 2 and HARD TARGET 2. In 2018 they even made a DTV sequel to UNBROKEN, that war drama directed by Angelie Jolie, and in 2019 they did BACKDRAFT 2, INSIDE MAN: MOST WANTED, DOOM: ANNIHILATION and UNDERCOVER BROTHER 2. That last one I tried to watch because Michael Jai White is in it, but I gave up when his character went into a coma near the beginning. Still, I appreciate its existence because it keeps me on my toes. It reminds me that any movie, no matter how old, no matter how forgotten, no matter how how-the-fuck-would-you-make-a-sequel-to-that, could suddenly have a DTV sequel. And it would already be filmed and have cover art by the time I found out they were doing it. You gotta be aware at all times. (read the rest of this shit…)
ONCE UPON A TIME… IN HOLLYWOOD is an odd and beautiful movie from… Quentin Tarantino. It’s undeniably one that only he could or would make – it’s even in his now-trademark ‘wish-fulfilling rewrite of a historical atrocity’ mode – but it’s different. It’s not as mean and angry as the last three, or as carefully plotted as any of them. It’s sort of a hang out movie, a day-in-the-life of two friends, and a gentle tale of surviving a mid-life crisis, wrapped in a love letter to Los Angeles of the late ’60s, and to the then-fading leading men of the ’50s, with a chaser of gruesome violence. The fun kind, though. The cathartic kind.
