the good: brad pitt, the soundtrack, the colouring, the costumes, tripping acid at the best-worst possible time, Chekhov's flamethrower, watching with charlie, Brandy, Booth and Brandy, Booth in his home, Booth at Spahn Ranch—which features Dakota Fanning in my favourite minor role—Booth and Dalton’s relationship, and all that goes unsaid between them, what glances are held and broken, what is understood from years spent together at one another’s side. there’s a love letter here to a particular relic of Hollywood’s Los Angeles, and there’s an even better love story between Booth and Dalton, both on the decline, one along for the ride, the other resistant and reluctant to age gracefully. there’s a nostalgia for a fantasy that is both fading and was never really real.

the bad: the dutch angles, Sharon’s role—is it a character? I’m not sure. it’s a touching tribute, surely, but lacks any substance to really be a character—and women really aren’t given much to work with other than Trudi (she is very good though, i just wish we had more than Sharon dancing and uhhh underage Pussycat), one or two too many tangents. i like that it digresses, takes its time, slow and easy, but it offshoots in some less salient directions (in particular, on set with Dalton… although Timothy Olyphant is always :) a delight :) )

the ugly: the title is a clunky mouthful, polanski, there are infinitely too many feet, which are ???? obscenely filthy??? margaret qualley i'm gonna get you and your feet out of there