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.
Rashomon is a total head case. Ikiru is a spike to the heart.
Linklater’s two films move us towards a new understanding of the genre of romantic films.
Your reaction to Rashômon will likely be determined, at least in part, by your attitude toward Nietzsche’s assertion that “God is dead.”
How to explain the generous reviews granted to the latest film by Tony Scott, the meister of the overbearing, trashy exploitation action genre?
Richard Linklater isn’t adept at seeing multiple narratives through to their various plausible conclusions.
The film has a lot to say about the destructive forces wrought upon mankind and nature by people who choose to impose their lunatic visions upon us.
In such a world as the one depicted on the show, there is little place for someone like Bubbles.