What sets the third season of Fargo apart from past seasons is its comparatively small cast of players.
In this incarnation of Fargo, evil isn’t just expressed haphazardly or ineptly through accident or spontaneous acts of violence.
It often suggests an alternate world that exists parallel, or perhaps perpendicular, to the dimensions of the film on which it’s based.
David and Nathan Zellner’s paean to cinema, and to the kindness of strangers, curdles into miserablism.
Content to faithfully hew to convention, the film rarely surprises, but its portrait of foolishness and fallibility, and its atmosphere of inevitable doom, remain sturdy and captivating.
Whereas Wong Kar-wai has found himself ensnared by his genre of choice, Thomas Arslan has kept a healthy distance from his own: the western.
The Mackendrick film’s plot and imagery both rely on the timely, English steam trains that always seem to be within earshot of the action.