Quentin Tarantino’s “Once Upon A Time in Hollywood” has finally arrived after years of hype and self-promotion by the eccentric writer-director and the results are what you might expect from someone given free reign to make whatever they want. Lots of his trademark dialogue and camera movements are present for the film’s first third, but then a slow slog creeps into the midsection, finally coalescing into an unnecessary yet still entertaining final act. This is not top-notch Tarantino, but it’s not a total misfire either, it rests in a hybrid of indulgence and genuine passion that only a gifted artist can create.

The year is 1969, and as the film begins, the once bountiful career of TV Western star Rick Dalton is inching to a close. He’s played by Leonardo DiCaprio with a goofy and likeable charm that he rarely shows on screen; it’s magnetic and easily makes for one of his best performances. On the other side of the coin is Rick’s stuntman and BFF Cliff Booth (Brad Pitt), he’s another weathered character about to hit the exit sign. But while Rick is desperately clinging to the light for one last chance at superstardom, Cliff is ready to fade into the background. Those opposite motivations will eventually meet in true Tarantino fashion toward the end of the film.

“Once Upon A Time in Hollywood” is a film that makes its own rules as it goes along. Plotlines and characters that are introduced in the first act are completely abandoned or take sharp left turns by act two. Cultural touchstones of the era are also thrown in for good measure, including vintage cars, slang, and of course, movie theaters. Real life characters from the period such as Charles Manson, director Roman Polanski and his wife, actress Sharon Tate, only show up as window dressing. There’s no real focus on them though; the movie plays fast and loose with history, instead focusing on the bromance between Rick and Cliff at the heart of the movie.

Yet some of these side stories within a bigger story are actually entertaining and work in the grand scheme of things. For example, when Cliff picks up a female drifter and that strange encounter only leads him to more female drifters with questionable motivations. Or when the aforementioned Sharon Tate gets a mini movie onto her own while the A-story gets put on pause. Tate is played with wide-eyed grandeur by Margot Robbie and her scenes are mostly internal, deviating from what most audiences may be expecting with her real-life character.

But then we have the large chunks of indulgence that almost grind the movie to a halt. The aforementioned finale is fun but also feels forced. Yet the biggest offending scene when it comes to overpowering the story is a large detour in the middle, where we see Rick fully rehearsing and shooting his guest spot on a popular Western TV show. It goes on for what feels like an eternity and is almost baffling how Tarantino, always known for detail and precision in his movies, let this large head-scratching chunk slide.

Speaking of length, “Once Upon A Time in Hollywood” is over two hours and forty minutes long; a non-surprise since Tarantino doesn’t make short movies, but this particular one could’ve benefited from another round in the editing room. As it stands, the movie is still a very fun ride. When it’s working, the movie soars. When it doesn’t, it’s still a unique experience and that kind of creativity should always be encouraged.

Rating: A-

“Once Upon A Time in Hollywood” opens in theaters nationwide July 26.