In this incarnation of Fargo, evil isn’t just expressed haphazardly or ineptly through accident or spontaneous acts of violence.
Another entry into the “small-town murder unravels the ties that bind the town together” tale that fails to bring anything new to the genre.
Tarr achieves an almost terrifying power but sometimes squanders it by hanging on too long.
There is some fantastic staging at work here.
Your reaction to Rashômon will likely be determined, at least in part, by your attitude toward Nietzsche’s assertion that “God is dead.”
Richard Linklater isn’t adept at seeing multiple narratives through to their various plausible conclusions.