"All About True Amour—a Man's Mostly Unstated Love of His Fellow Man, and Also, Sure, a Man's Love of 'Mannix'"

"The end result is not so much like reliving the movie on the page—although the book does have a few scenes in which the dialogue and descriptive beats are transcribed note-for-note from the screenplay—as much as a catalog of constant diversions that's like being locked inside the New Beverly for a week with Pauline Kael, Harry Knowles and Leonard Maltin. Let that intrigue or daunt you as it may, as you decide whether or not to plunk down $7.48 (the very reasonable Amazon going rate, at press time) for a book that's been deliberately designed to resemble something that would have sat on a rusting metal rack in a drugstore in the '70s. It's definitely not for everybody… not even everybody who loved the film. '"

Chris Willman at Variety reviews Quentin Tarantino's novelization of Once Upon a Time in Hollywood.

"A World 'That Never Really Existed, but Feels Like a Memory'?"

"As to violence against women, what can I tell you? If you don't like it, don't go to a movie about the Manson killings. Say what you will about Charles Manson; he really empowered women to pursue excellence in traditionally male-dominated fields. From armed robbery to sadistic murder at knifepoint, he put women in positions from which they had been traditionally excluded, and ultimately helped them to break that hardest, highest glass ceiling, the one that makes death row such a male purview. The Manson crimes became famous because of the savagery of the killings, the killers became famous because so many of them were women, and the most famous of the victims was a very specific woman, so particularly feminine—and at the height of femininity, the peak of her young beauty, and eight-and-a-half months pregnant—that her slaughter instantly assumed a mythic importance."

Caitlin Flanagan at The Atlantic criticizes criticism of Quentin Tarantino's Once Upon a Time in Hollywood.

"Something That Is Fast"

"Sometimes B-movies featured talent on their way down, but more often they were a testing ground for up-and-comers such as Wise, Richard Fleischer, Edward Dmytryk, Fred Zinnemann, Anthony Mann and Budd Boetticher. But some directors were content to stay in B-pictures because there was little interference from the front office."

Susan King in the Los Angeles Times gives a brief history of B-movies.

"Next Tarantino Movie An Homage To Beloved Tarantino Movies Of Director's Youth"

"The film will reportedly feature elements and techniques lifted directly from Tarantino's past works, including numerous point-of-view shots from car trunks, and references to Tarantino's favorite cult films, My
Best Friend's Birthday and From Dusk Till Dawn."

From The Onion.