In November 2019, it was reported that a potential third season had been put on indefinite hold until Fincher finished working on his next film, Mank. Fincher plans to make five seasons. In January 2020, Netflix announced that the cast had been released from their contracts and that the series was on indefinite hold, as Fincher was busy with other projects. A Netflix spokesperson stated, "He may revisit Mindhunter again in the future, but in the meantime felt it wasn't fair to the actors to hold them from seeking other work while he was exploring new work of his own."
In the United States and Canada, the film was projected to gross $30–40 million from 3,659 theaters in its opening weekend, with some projections having it as high as $50 million or as low as $25 million. The week of its release, Fandango reported the film was the highest pre-seller of any Tarantino film. The film made $16.9 million on its first day, including $5.8 million from Thursday night previews (the highest total of Tarantino's career). It went on to debut to $41.1 million, finishing second behind holdover The Lion King and marking Tarantino's largest opening. Comscore reported that 47% of audience members went to see the film because of who the director was (compared to the typical 7%) and 37% went because of the cast (compared to normally 18%). The film grossed $20 million in its second weekend, representing a "nice" drop of just 51% and finishing third, and then made $11.6 million and $7.6 million the subsequent weekends. In its fourth weekend the film made $5 million, bringing its running domestic total to $123.1 million, becoming the second-highest of Tarantino's career behind Django Unchained. In its ninth weekend, its global total earnings reached $329.4 million, surpassing Inglourious Basterds to become Tarantino's second-highest global grosser behind Django Unchained.
More InfoThe Hollywood Reporter said critics had "an overall positive view," with some calling it "Tarantino's love letter to '60s L.A.," praising its cast and setting, while others were "divided on its ending." ReelViews' James Berardinelli awarded the film 3.5 stars out of 4, saying it was "made by a movie-lover for movie-lovers. And even those who don't qualify may still enjoy the hell out of it." RogerEbert.com's Brian Tallerico gave it four out of four stars, calling it "layered and ambitious, the product of a confident filmmaker working with collaborators completely in tune with his vision". The Chicago Sun-Times, Richard Roeper described it as "a brilliant and sometimes outrageously fantastic mash-up of real-life events and characters with pure fiction," giving it full marks. Writing for Variety, Owen Gleiberman called it a "heady engrossing collage of a film—but not, in the end, a masterpiece." Peter Bradshaw of The Guardian gave it five out of five stars, praising Pitt and DiCaprio's performances and calling it "Tarantino's dazzling LA redemption song." Steve Pond of TheWrap said: "Big, brash, ridiculous, too long, and in the end invigorating, the film is a grand playground for its director to fetishize old pop culture and bring his gleeful perversity to the craft of moviemaking." Peter Travers of Rolling Stone awarded the film 4.5 out of 5 stars, remarking that "All the actors, in roles large and small, bring their A games to the film. Two hours and 40 minutes can feel long for some. I wouldn't change a frame."
More InfoArchive footage from many films is included in Once Upon a Time in Hollywood, including C.C. and Company, Lady in Cement, Three in the Attic, and The Wrecking Crew, in which Sharon Tate appears as Freya Carlson. Three scenes were digitally altered, replacing the original actors with Rick Dalton. One from an episode of The F.B.I., entitled "All the Streets Are Silent," in which Dalton appears as a character originally portrayed by Burt Reynolds. Another from Death on the Run, with Dalton's face imposed over Ty Hardin's. The third is from The Great Escape, with Dalton appearing as Virgil Hilts, the role made famous by Steve McQueen. For The 14 Fists of McCluskey, a WWII film within the film starring Dalton, footage and music from Hell River is used. Additionally, Martin Abrahams, Brioni Farrell, Victor Freitag, Nancy Kwan, Dean Martin, Hannes Messemer, Gordon Mitchell, Rod Taylor, Burt Ward, and Adam West appear via archive footage and sound.
More InfoArchive footage from many films is included in Once Upon a Time in Hollywood, including C.C. and Company, Lady in Cement, Three in the Attic, and The Wrecking Crew, in which Sharon Tate appears as Freya Carlson. Three scenes were digitally altered, replacing the original actors with Rick Dalton. One from an episode of The F.B.I., entitled "All the Streets Are Silent," in which Dalton appears as a character originally portrayed by Burt Reynolds. Another from Death on the Run, with Dalton's face imposed over Ty Hardin's. The third is from The Great Escape, with Dalton appearing as Virgil Hilts, the role made famous by Steve McQueen. For The 14 Fists of McCluskey, a WWII film within the film starring Dalton, footage and music from Hell River is used. Additionally, Martin Abrahams, Brioni Farrell, Victor Freitag, Nancy Kwan, Dean Martin, Hannes Messemer, Gordon Mitchell, Rod Taylor, Burt Ward, and Adam West appear via archive footage and sound.
More InfoThe Hollywood Reporter said critics had "an overall positive view," with some calling it "Tarantino's love letter to '60s L.A.," praising its cast and setting, while others were "divided on its ending." ReelViews' James Berardinelli awarded the film 3.5 stars out of 4, saying it was "made by a movie-lover for movie-lovers. And even those who don't qualify may still enjoy the hell out of it." RogerEbert.com's Brian Tallerico gave it four out of four stars, calling it "layered and ambitious, the product of a confident filmmaker working with collaborators completely in tune with his vision". The Chicago Sun-Times, Richard Roeper described it as "a brilliant and sometimes outrageously fantastic mash-up of real-life events and characters with pure fiction," giving it full marks. Writing for Variety, Owen Gleiberman called it a "heady engrossing collage of a film—but not, in the end, a masterpiece." Peter Bradshaw of The Guardian gave it five out of five stars, praising Pitt and DiCaprio's performances and calling it "Tarantino's dazzling LA redemption song." Steve Pond of TheWrap said: "Big, brash, ridiculous, too long, and in the end invigorating, the film is a grand playground for its director to fetishize old pop culture and bring his gleeful perversity to the craft of moviemaking." Peter Travers of Rolling Stone awarded the film 4.5 out of 5 stars, remarking that "All the actors, in roles large and small, bring their A games to the film. Two hours and 40 minutes can feel long for some. I wouldn't change a frame."
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