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<p style="margin:0;margin-bottom:16px">
<em>
<a rel="noopener" style="text-decoration: underline; color: #000000;" target="_blank">
Read and share this post on the web.
</a>
</em>
</p>
<p style="margin:0;margin-bottom:16px">
It’s been a long, grueling two years since
<a style="text-decoration: underline; color: #000000;">
Quentin Tarantino
</a>
pump-faked on
<em>
The Movie Critic
</em>
, sparking speculation that the
<em>
Pulp Fiction
</em>
auteur might have backed himself into a corner with his longstanding plan to retire after releasing his tenth feature. Tarantino has been teasing
<a style="text-decoration: underline; color: #000000;">
ideas that will never come to fruition
</a>
his whole career, but
<a style="text-decoration: underline; color: #000000;">
the announcement
</a>
and
<a style="text-decoration: underline; color: #000000;">
subsequent backtracking
</a>
on his proposed final film suggested two things: Either the director is too proud to renege on his promise by revealing that his tenth film
<em>
wouldn’t
</em>
be his big finale, or the idea of having to deliver a movie strong enough to potentially ride out on scared the hell out of him.
</p>
<p style="margin:0;margin-bottom:16px">
Which is perhaps why we—the greater film-watching, Twitter-discoursing, Letterboxd-having community—were all collectively so vehemently, spiritually, diametrically opposed to the idea of a
<em>
Once Upon a Time in Hollywood
</em>
sequel centered on
<a style="text-decoration: underline; color: #000000;">
Brad Pitt
</a>
’s Cliff Booth, written by Tarantino but set to be directed (for
<a style="text-decoration: underline; color: #000000;">
Netflix
</a>
, no less) by
<a style="text-decoration: underline; color: #000000;">
David Fincher
</a>
. Despite the talent involved, it felt like a slap in the face—a paltry consolation for anyone awaiting a proper new Tarantino story, and a seemingly random concession to franchise/spinoff culture from two filmmakers who’ve thus far resisted its siren call.
</p>
<p style="margin:0;margin-bottom:16px">
But now that
<a style="text-decoration: underline; color: #000000;">
new rumors are swirling
</a>
about QT finally being ready to shoot his own mic-drop film, a rumored “greatest hits” project featuring a lineup of his usual exciting suspects, it feels like it’s safe to come out with a rare against-the-grain optimistic take: What if the Cliff Booth movie actually ends up being fire?
</p>
<p style="margin:0;margin-bottom:16px">
The mere existence of this project is confounding for sure. Over the years, Tarantino has tossed out plenty of spin-off ideas—for a Vega Brothers movie teaming John Travolta’s
<em>
Pulp Fiction
</em>
hitman Vincent Vega with the late great Michael Madsen’s Vic “Mr. Blonde” Vega from
<em>
Reservoir Dogs
</em>
, for a
<em>
Kill Bill Vol. 3
</em>
following Vernita Green’s daughter on a quest for vengeance, and even for a Django-meets-Zorro adventure co-written with Jerrod Carmichael (which Jerrod
<a style="text-decoration: underline; color: #000000;">
once told me
</a>
had all the makings of a half-billion dollar box office haul.) But he’s never actually gone through with sequelizing any of his main characters (
<em>
Kill Bill Vol. 2
</em>
, obviously, doesn’t count.)
</p>
<p style="margin:0;margin-bottom:16px">
There was something that felt cool and pure about that, which is why so many people recoiled from the idea that Tarantino would finally break the sequel seal with Cliff Booth—a great character who felt like he was used to a pitch-perfect amount in
<em>
Once Upon a Time in Hollywood
</em>
—and wouldn’t even be steering the ship himself. Add that to the recent confounding, seemingly listless choices Fincher has been making (particularly his decision to helm the English-language
<em>
Squid Game
</em>
reboot) and
<em>
The Adventures of Cliff Booth
</em>
felt like two possibly incongruent auteurs coming together for the hell of it and a nice check instead of making another worthwhile addition to their classic filmographies for the love of the game—diminishing returns all but guaranteed.
</p>
<p style="margin:0;margin-bottom:16px">
Maybe not, though. For one thing, even though it’s been a while, Tarantino scripts in the hands of other directors still have a pretty good track record, word to
<em>
True Romance.
</em>
And while I only got through a few chapters of
<a style="text-decoration: underline; color: #000000;">
his
<em>
Once Upon a Time in Hollywood
</em>
novel
</a>
before getting distracted and falling off, what I did read was in some ways an even richer detailing of the golden age LA Tarantino so lovingly depicted on screen, for Cliff Booth especially. He shines in those early chapters, with an interiority that’s just easier to present on the page than on screen—as written, there’s a wry humor and an even more sober resignation of his place in the world and the Hollywood ecosystem. We know from the film that Cliff has a rich and possibly very foul and homicidal backstory. There are a handful of ways that a script that puts Cliff front and center instead of splitting time with Rick Dalton can expand on the seeds Brad was only able to gesture at and that Tarantino expanded on in his book. And who better to guide Pitt’s second run at the character that finally nabbed him an Oscar than Fincher—the guy who’s directed three of the best all-time Brad Pitt performances to date?
</p>
<p style="margin:0;margin-bottom:16px">
Peak Streaming is bulldozing creativity in the name of content, and Netflix sometimes feels like they’re leading the charge. But this project only really felt sacrilegious because we know Tarantino especially has better ways he could be spending his time. But if he passed this off to his buddy David Fincher so he could refocus his efforts on delivering that elusive tenth picture, maybe things aren’t as bleak as they seem. In many ways, Tarantino considers
<em>
Once Upon a Time in Hollywood
</em>
to be his magnum opus; one has to assume—or at least hope—that he’d be just as precious about compromising one of its core characters just for content as his fans are.
</p>
<p style="margin:0;margin-bottom:16px">
Fincher’s already officially in production, with filming underway here in Los Angeles. The leaked set photos, with Brad-as-Cliff looking less like the clean-shaven stuntman stud of 1969 and more like…well, David Spade, suggest at the very least we’re not in for a retread. This is Cliff in a totally different era, likely forced to become a different animal—or worse, dusty and down on his luck due to a failure to evolve. The idea of this character navigating a new cultural moment, for the country in general and Hollywood specifically, has a lot of potential for hilarity and incisive industry commentary. (It’s been reported that
<em>
The Movie Critic
</em>
mutated into a different story once Tarantino added Cliff as a character, although it’s unclear if this is the movie Fincher is making.) Throw in a
<a style="text-decoration: underline; color: #000000;">
reprise for the always-welcome Timothy Olyphant
</a>
, center of one of
<em>
Once
</em>
’s best scenes, and a cast including character-actor jewels like Carla Gugino and Holt McCallany (we’ll take the
<em>
Mindhunter
</em>
reunion however we can get it), and you’ve got a recipe that promises at least B-tier entertainment rather than disaster.
</p>
<p style="margin:0">
So, for now, I’ve decided to switch gears to optimism. This may not be the project we'd have envisioned these three GOATs teaming up to make, but that doesn’t mean it won’t be a banger of a different stripe all the same. And hopefully it’s freed Quentin up to give us the tenth Tarantino movie we really want—whatever that ends up being.
</p>
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<p style="margin:0;margin-bottom:16px">
<strong>
Between the Taps
</strong>
</p>
<p style="margin:0">
(
<em>
A weekly roundup of everything else I consumed since the last Tap In)
</em>
</p>
</div>
</td>
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<p style="margin:0;margin-bottom:16px">
<strong>
<em>
Cloud
</em>
</strong>
</p>
<p style="margin:0;margin-bottom:16px">
The streets were saying superlative, hyperbolic things about this Kiyoshi Kurosawa thriller so I made an effort to catch it on the big screen over the weekend when I saw it playing at Vidiots. (Notably not in the main theater, but a smaller room around a back hallway I'd never been down hilariously referred to as the MicroCinema.) The actual film does not quite live up to the best-of-the-year chatter I'd seen among some mutuals—I dug its themes but didn't love the way they were executed. But a lively, bleakly hilarious and droll third act does liven things up, and Sano the reseller assistant is a new all-time great character.
</p>
<p style="margin:0;margin-bottom:16px">
</p>
<p style="margin:0;margin-bottom:16px">
<strong>
<em>
Smallville
</em>
</strong>
</p>
<p style="margin:0;margin-bottom:16px">
The emo-optimism of James Gunn's
<em>
Superman
</em>
has sent me—
<a style="text-decoration: underline; color: #000000;">
and others
</a>
—back to
<em>
Smallville
</em>
, which holds a very specific vise-grip on people who were in middle school when it first aired. But aside from rose-tinted glasses about how cool the concept (
<em>
Superman: the High School Years
</em>
, basically) was at the time—or for, you know, Kristen Kreuk—I've always wondered if maybe this show fits into the grander appreciation I have lately for the brilliance of old formulaic TV, and you know what? It absolutely does. This show is so dumb that it's kind of genius: A teenage Superman tests his mettle with
<em>
Goosebumps
</em>
-esque cases of the week courtesy of kryptonite-mutated classmates (because the town has been littered with the stuff ever since the meteor shower that brought Clark Kent to Earth), contextualized with a healthy heaping of teenage angst and
<a style="text-decoration: underline; color: #000000;">
a killer soundtrack
</a>
. There's a whole macabre, gothic element to the show's tone that holds up really well—it's like a more blatantly on-the-nose rendering of
<em>
Buffy's
</em>
"high school is hell" concept, but it works just enough to be deceptively ingenious. Case in point: Kreuk's Lana Lang wears a Kryptonite necklace in memory of her parents who died in the meteor shower; Clark's dream girl literally makes him weak. Or how about the way they correlate Clark's burgeoning heat vision with puberty. (Surely you've seen that clip of a horny Clark accidentally lighting his classroom on fire after he gets the hots for a substitute teacher.)
</p>
<p style="margin:0;margin-bottom:16px">
But, like Gunn, the showrunners here just kind of
<em>
get
</em>
Superman, in an underrated but very pitch-perfect way; the first genuinely good episode of the series doesn't involve any freaks but instead a corrupt cop who learns Clark's secret and wants to exploit it. John Schneider and Annette O'Toole are quietly the most perfect on-screen Jonathan and Martha Kents to ever do it. And Michael Rosenbaum is quietly the soul of the show (and a frequent scene-stealer) as a young Lex Luthor at the crossroads of good and evil. I was only going to watch a couple eps for the love of the game, but in this TV dry spell we're in now, may end up barreling through a season or two before it inevitably fell off.
</p>
<p style="margin:0;margin-bottom:16px">
</p>
<p style="margin:0;margin-bottom:16px">
<strong>
Rick Ross, Assorted Works (
</strong>
<strong>
<em>
Rich Forever; God Forgives, I Don’t; Mastermind)
</em>
</strong>
</p>
<p style="margin:0;margin-bottom:16px">
Once again, millennial rap fans are going crazy over a classic mixtape that just got added to streaming. This time, it’s Rick Ross's seminal 2012 tape
<em>
Rich Forever
</em>
, released at the height of his imperial phase, right after his wave began to really crest with his 2011 album
<em>
Teflon Don
</em>
. Not me, though! Little big details like mixtapes not being available are why I never threw my lot in with streaming, and
<em>
Rich Forever
</em>
gets constant play here in my manually organized library quite often. But the talk around it reminded me that in retrospect, I think it was a mistake for Rick to drop this for free and outside of his canonical discography. He did it as a display of clout to Def Jam, and it worked—two years later, on his album
<em>
Mastermind
</em>
,
<em>
</em>
he'd rap, "My new Def Jam deal just set me for life."
</p>
<p style="margin:0">
But I just ran it back to re-confirm and indeed, despite several good songs,
<em>
Mastermind
</em>
is the first Ross album that’s kind of a miss from top to bottom. And it all goes back to using
<em>
Rich Forever
</em>
as a chess piece to promote
<em>
God Forgives, I Don't.
</em>
<em>
RF
</em>
is dynamic, urgent, and effortlessly cinematic, whereas in a bid to make
<em>
God Forgives
</em>
seem like a bigger deal as an Actual Album, you can feel Rick reaching for grandeur for grandeur's sake with diminishing returns. After
<em>
Mastermind
</em>
followed and fell short, Ross albums started to become less of an event, which is a shame since every Ross release has its gems. (2017’s
<em>
Rather You Than Me
</em>
is the closest he's come to matching his first five). Anyway, if it's been awhile since you ran
<em>
Rich Forever
</em>
because Spotify, please enjoy "Fuck Em," "Keys to the Crib," that incredible title track, and the brilliant opulence of "London Skit."
</p>
</div>
</td>
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<p style="margin:0;font-size:15px;mso-line-height-alt:22.5px">
<strong>
Related reading from
<em>
GQ
</em>
:
</strong>
</p>
<ul style="line-height:1.5;mso-line-height-alt:22.5px;font-size:15px">
<li aria-level="1">
<a style="text-decoration: underline; color: #000000;">
What Tarantino’s
<em>
Once Upon A Time In Hollywood
</em>
Novel Tells Us About Cliff Booth
</a>
(2021)
</li>
<li aria-level="1">
<p aria-level="1" style="margin:0;mso-line-height-alt:22.5px">
<a style="text-decoration: underline; color: #000000;">
Every Quentin Tarantino Movie, Ranked
</a>
(2019)
</p>
</li>
<li aria-level="1">
<a style="text-decoration: underline; color: #000000;">
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</a>
</li>
</ul>
<p style="margin:0;font-size:15px;mso-line-height-alt:22.5px">
<a rel="noopener" style="text-decoration: underline; color: #000000;" target="_blank">
<span style="word-break: break-word; font-size: 15px;">
<em>
Read previous editions of Tap In here.
</em>
</span>
</a>
</p>
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</tr>
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David Fincher's Cliff Booth Movie Is Happening. What If It's Great?
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